2D Artist - Issue 041 - May 2009

Interviews Don Seegmiller & Kekai Kotaki

Articles Sketchbook Of Ivan Kashubo

Galleries Marcin Jakubowski, Sergey Musin & Cynthia Sheppard, plus more!

Concept Art, Digital & Matte Painting Magazine Issue 041 May 2009

s , to gothic town rs a c y in h s & l girls f space... from beautifu & the depths o

Hot Rod!

The penultimate part of our Vehicle Painting tutorial series sees Dwayne Vance finalise his beast of a hot rod design

‘The sleepy village never saw the horror approaching’

Nick Oroc and Nathaniel West are this month’s Speed Painters, each with their own unique interpretations of another weird but wonderful theme

Mining the Asteroid Fields

As Chee Ming Wong brings this epic tutorial series to a near close, he takes a look at our future and imagines what everyday life could be like...

Contents Editorial

001 Contents What’s in this month?

Welcome to our issue of beauties and beasts. Within the pages of this month’s

007 Don Freelance Seegmiller Illustrator

magazine, you’re going to stumble across the devilishly handsome and the

023 Kekai Kotaki Concept Art Lead for ArenaNet

beastliest beauties, as we have packed 2DArtist with stunning content across the board, with contributions from Don

039 Sketchbook The Sketchbook Of Ivan Kash

Seegmiller, Kekai Kotaki, Nykolai Aleksander and many, many more. And to illustrate the theme of “beauties and

051 The Gallery 10 of the Best 2D Artworks

beasts” for us quite perfectly this month, we have our first artist interview with 2D artist veteran, Don Seegmiller

061 Stylised Characters portraits, to weird and wonderful cartoon illustrations. We’ve also interviewed This Month’s Finalists & Last Month’s Making Ofs

(p.7), whose portfolio demonstrates a range of stunning realistic character

cover artist, ArenaNet concept art lead Kekai Kotaki (p.23), who continues

075 Vehicle Painting Tutorial Series: Part 4

the theme exceptionally with his inspiring character concepts that will, quite simply, blow your mind. So there you go: 28 pages of stunning art by two of

085 Speed Painting Nick Oroc & Nathaniel West

the industry’s greats – enjoy!

This May issue also presents the penultimate parts of not one, but two of our fantastic tutorial series: Vehicle Painting by Dwayne Vance and Hoi Mun

095 Space Painting Part 11: Mining the Asteroid Fields

Tham, and Space Painting by Chee Ming Wong. But do not fret, for we’re on the case and we have lined up for you some real treats for July. And

109 Anatomy of a Painting Different Means to one End

because I’m not really one to keep a secrets (oops), I’ll let you in on what’s to come … First up, we have a series that we’re all really excited about here at 2DArtist: Dynamic Characters – Enhancing your Character Concepts. We

119 What a Shame Project Overview by Sara Biddle

have some great names working on this series already, with more to come!

And for all those budding artists out there who follow 2DArtist but have not

125 Black Project Overview by Dmitry Grebenkov

quite got the hang of painting in Photoshop just yet, we’ll be bringing you a Beginners Guide to Digital Painting in Photoshop in July, with another top artist signed up to teach you all they know and how to get started. So no excuses! I think we’ll even find some twitching Wacom tablets in the office here once the series kicks off, as we can’t wait to learn some tips from this

132 Fallen Beauty Digital Art Masters: V3 Free Chapter Promotion

pro. But back to this issue, we are of course sad to see the last but one of

134 About us 3DTotal.com Ltd Information & Contacts

two of our series, but what great chapters they are! Chee Ming Wong is mining the asteroid fields (p.95), whilst Dwayne Vance is driving his sleek, futuristic vehicle into the desert sands in the final rendering of his awesome car concept (p.75). Not only this, but we have the talents of Nick Oroc and

Editor

Layout

Content

Proofing

Nathaniel West in the Speed Painting tutorial section this month, where

Lynette Clee

Layla Khani Matt Lewis

Lynette Clee Tom Greenway Richard Tilbury Chris Perrins Jo Hargreaves

Jo Hargreaves Lynette Clee

they both fight out the theme, “The sleepy village never saw the horror

Lead Designer

approaching” (p.85). And, as an extra special treat for you all, we have a

Chris Perrins

bonus article from Nykolai Aleksander where she discusses the anatomy

Marketing Jo Hargreaves

of a painting, using a new painting created especially for this article to demonstrate, so do check that out and get yourself inspired (p.109)!

Free Stuff!

What else? Well, we’re talking centaurs and cyclopses in the Stylised

Wherever you see

Challenge section; our centaur entries blew us away – one of the best

this symbol, click it to

challenges yet (p.61)! Follow those beasts with another two stunning

download resources,

beauties in our Making Of section, by Sara Biddle (p.119) and Dmitry

extras and even movies!

Grebenkov (p.125) – one a realistic character portrait, the other a stylised beauty. And wrap up this month’s ever-so-chocker issue by checking out Ivan Kash’s sketchbook on p.39, and discovering some real treats from Loic Zimmermann and Cynthia Sheppard (plus more) in the Gallery.

www.2dartistmag.com

Enjoy! Ed. page 2

Issue 041 May 2009

Get the most out of your

Magazine!

If you’re having problems viewing the double-page spreads that we feature in this magazine, follow this handy little guide on how to set up your PDF reader!

Setting up your PDF reader For optimum viewing of the magazine, it is recommended that you have the latest Acrobat Reader installed.

You can download it for free, here: DOWNLOAD!

To view the many double-page spreads featured in 2DArtist magazine, you can set the reader to display ‘two-up’, which will show doublepage spreads as one large landscape image:

1. Open the magazine in Reader;

View menu, then Page display; Two-up Continuous, making sure that Show Cover

2. Go to the 3. Select

Page is also selected.

Contributors

Contributing Artists

Kekai Kotaki

Every month, many artists around the world contribute to 3DCreative &

Born and raised on the big

2DArtist magazines. Here you can find out all about them. If you would

island of Hawaii, Kekai moved

like to be a part of 3DCreative or 2DArtist Magazines, please contact:

to Seattle Washington in 2000

lynette@3dtotal.com

to go to school and pursue a career in art. He’s currently concept art lead at ArenaNet, working on Guild Wars 2.

http://www.kekaiart.com/ kekai.k@gmail.com

Chee

Dwayne

Ming Wong

Vance

Has over 8 years of creative

Has worked professionally as

visualisation and pre-production

a designer for companies such

experience, having worked

as Mattel on Hot Wheels and

on various independent game

has also designed protective

projects, publications and CGI pre-production

gear for Troy Lee Designs. Now he has his own

artwork. He is currently the CEO of his own digital art

company called FutureElements and creates work for

studio, Opus Artz, based in London. Previous work

the motorsports, entertainment and auto industries.

includes his role as senior concept artist and visual

He also has his own line of hot rod art which is

lead for Infinity: The Quest for Earth MMO 2009, plus

influenced by his concept design background.

numerous commercial publications. http://www.opusartz.com

http://www.futureelements.net

chee@opusartz.com

vancedwa@sbcglobal.net

Nicolas

Nathaniel

Oroc

West

Resides in Montreal, Quebec,

Freelance illustrator and

Canada. He currently works

designer residing in Los

at A2M as a senior concept

Angeles. He acts as an

artist/illustrator. With 11 years’

integral part of many exciting

experience as an artist, he’s worked in publishing,

projects all around the world, which include themed entertainment, films and video games. He is currently

advertising, and for the last 6 years in gaming.

Within 4 years of experience at Ubisoft Montreal,

focusing on production design for feature films, as

he’s worked on titles such Prince of Persia “Warrior

well as continuing to work with clients to design

Within”, Rainbow Six “Lock Down” & “Vegas”, and

meaningful spaces on various freelance projects.

preproduction on Splinter Cell next gen. http://www.nickorocart.com

http://www.nathanielwest.net

nickoroc@gmail.com

nathaniel@nathanielwest.net

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Issue 041 May 2009

Contributors Nykolai

Sara

Aleksander

Biddle

Born in Germany in 1978, she

23-years old, Sara is a self-

moved to England in 1999,

taught artist who was born

and currently lives in South

and is currently residing in the

Africa with her husband. She’s

United States. She has been

been painting digitally since 2002, and works as

painting in the digital medium for three years now.

a freelance illustrator for both private clients and

For a while, she only worked on personal paintings,

companies.

but she has recently started working as a freelance illustrator.

http://www.admemento.com

http://www.salizabeth.net

x@admemento.com

contact@salizabeth.net

Oriol Muñoz

Adrian

Anguera

Zhang

A graffiti artist of The Petados

Loves to doodle, draw, eat

Crew from Barcelona and

and sleep. He started drawing

surrounding areas. He’s

about two years and believes

currently working as a

in sharing it with the world.

production/concept artist for 2D and 3D games, and

The tools of his trade are openCanvas, Photoshop,

manages to make time for his own personal projects

Flash, and occasionally 3ds Max. He wants to be a

in his free time. His motto is: “Love Walls!”

distinctive illustrator in the near future, and he hopes to draw for Flash games and video games, if the opportunities arise.

http://www.urih-pta2.blogspot.com

http://gnahz.deviantart.com/

urih.pta2@gmail.com

adrian.zhangzhiwei@gmail.com

Oleg

Dmitry Grebenkov

Yurkov An artist from Omsk, Russia

After graduating Stavropol Artist

who has been designing cartoon

College he bought a Wacom

characters for games, websites

tablet and began to study digital

and cartoons since ‘06 for clients worldwide.

painting. After several years of

http://oritey.ru/ | oritey@gmail.com

further self education he was invited to work on an

Inessa

MMORPG project as a 2D artist, and then moved

Kirianova

to St. Petersburg where he lives and works at the

An illustrator, designer and

moment. Inspiration for his work comes from music,

photographer who has been

interesting life experiences, and books. He doesn’t like TV or LCD monitors, but does love cats.

working in the book publishing,

http://kody.cgsociety.org/gallery/

advertising and game industries since 2004.

dmitry.grebenkov@gmail.com

http://www.ineska.com

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Issue 041 May 2009

“We tend to be interested in people because we are human ... things that move, think and interact with their environment are very interesting and there is a mythology that surrounds almost all living things. Over time what is real and not sometimes gets muddled and those characters are the most interesting. Whatever goes bump in the night, so to speak.”

n g bee havin a . We years of the er 20 eran t v e o v r is a t, and y fo dustr his ar miller in g w e e o e h h t e. out und Don S ut ab d aro hat tim find o in an d in t o e g t g in n ly k t wor cen s cha im re y, ha with h dustr in p t u t is h rt caug the a rld, rt wo

Interview

Don Seegmiller

Hi Don, welcome to the pages of 2DArtist and thanks for taking the time to chat to me today.

I have to admit that although I’ve done my research for this interview, there’s no handy “About” section on your websites and so you’re still something of a mystery to me! So first things first: who are you, what do you do and how did you end up working in the 2D art industry?

Hi Jo, thanks for the opportunity to do an interview for 2DArtist. It’s an honour and a pleasure. No, there is not an “about” section on my website. Part of that is intentional and part of it is just sheer laziness on my part. I guess though that an air of mystery can be a good thing. So who am I; that really isn’t too hard a question to answer. I am a father, husband, and a grandfather. Maybe that’s why I don’t have an

“about” section, because I’m so much older than everyone else doing 2D work.

I graduated from school with a Bachelor of Fine Arts degree in Illustration. That was back when the last of the dinosaurs were roaming the foothills and there was no such thing as computer art. Well, that’s not actually 100% true; there were computers over in some of the science buildings that were being programmed to make images, but I’m not really sure that you could have called it art. I do remember that about the year after I graduated I saw the first commercially available computer on which you could generate simple art. It was about as big as a Volkswagen Beetle and cost around $250,000.

You could draw lines, simple shapes, fill the shapes with simple gradients etc, and then output your masterpieces on colour Polaroid film. It never occurred to me at that point that I would ever be making art on a computer.

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Issue 041 May 2009

Fast forward about 10 years and I got a handme-down computer from my father. At the time I was thrilled. I could play games on the machine, like the original Zork and some of the Wizardry games, and it had a 14 inch CGA monitor. Man I was set! The first ever art program I bought was Electronic Arts’ Deluxe Paint. It’s funny, because it has been over 20 years since then and yet you still find people using Deluxe Paint today, or programs based on the Deluxe Paint model.

The only problem with Deluxe Paint was that you had to build images pixel by pixel. I didn’t really have the patience for that; doing a 640 x 480 pixel image took forever.

My first real breakthrough was the release of Fractal Design’s Painter, an old CalComp stylus and tablet (the pen needed four hearing aid batteries to operate, which made the whole thing extremely heavy to draw with), a VGA video card and a monitor that could display 16 bit colour. I was hooked!

I actually ended up working in the digital industry when a company called Cygnus Multimedia hired me as a part-time artist. I would do my gallery paintings during the day and then work a few hours at Cygnus. They were developing early video games and I remember the first thing I worked on was an early Game Boy title.

Well, that’s pretty much the short version. After a lot of twisting and turning, and travelling down unexpected paths, I’ve ended up at the point I am today - which is that I still don’t really know what I want to be when I grow up.

Can you tell me a bit about the projects that you’re working on at the moment? What do you get up to an a day to day basis?

Well right now it is not very exciting. I am doing a lot more writing than painting. I am currently developing two online classes for the Academy of Art University in San Francisco, both on digital painting.

I am also in the second week of an online workshop at CG Society. I do a number of workshops for them each year and the current one is on Fundamental Digital Painting. There seems to be lots of intermediate to advanced tutorial materials out there on the web, but very few fundamental tutorials. It is fun to start at the

beginning. After that one I will be doing either Monster Painting 2 or a Character Painting workshop, which is a mixture of figure and monster painting.

I am also doing some training materials for Autodesk. Once in a while I actually get to paint something... There is a story book on the horizon as well as several smaller projects. I tend to work long hours!

Now as I’m sure anyone can see from taking a quick glance at your digital work, you have a very distinctive artistic style. You seem to favour big, bold, character-driven pieces, with that wonderful stylised cartoony style and vibrant palate. So I guess what I’d like to know is, why this style? With all the different artistic directions you could have taken, why did you decide to go down this particular route?

Your question about why I have gone down the artistic path that I have is a good one, but I may not have a good answer. My traditional artwork is extremely classical and realistic in nature.

My digital art started out as sketches scanned from my sketchbook and then painted. In a lot of cases there is really no rhyme or reason for what I do. I do draw constantly, so I have a lot of material to fall back on. In fact, I have a whole bookshelf full of sketchbooks and drawings. My kids are already arguing over who gets what when I die; I tell them that I hope it is still quite a ways away!

I think the only real trend in my work is the character driven aspect. I find people, animals, creatures, whatevers - both living and organic - much more interesting than either landscape or hardware. It really is the only thread that I’m aware of in the work.

What is about characters that you find so intriguing?

Actually, I think it is a very natural thing. We tend to be interested in people because we are human. I think that women are particularly interesting since I don’t have a clue how they think. I have been married for 30 years and I still don’t understand the true meaning of some things my wife says to me. There is a very female code speak that I am not sure men ever understand! Seriously though, things that move, think and interact with their environment are

Interview

Don Seegmiller

very interesting and there is a mythology that surrounds almost all living things. Over time, what is real and not sometimes gets muddled and those characters are the most interesting.

Whatever goes bump in the night, so to speak.

I also noticed a couple of beautiful, naturalistic human character studies sneaking in among all the stylized images in your gallery. Is there a story behind these? They seem a departure from what I would call your normal digital style.

The naturalistic and realistic human studies look more like my traditional gallery work than the rest of the pieces you see. I tend to keep my gallery work and my digital work very separate.

There is still somewhat of the myth floating around that the computer does all the work when creating art. I can’t afford and don’t want my traditional clients to feel that what they are paying for has been created on the computer.

Of course it is still pretty much impossible to create an oil painting on a computer. Before becoming a digital artist I did make my living as a gallery painter and I have painted close to 1000 of these figurative paintings. Every so often it is fun to try and emulate what I do in the traditional world on the computer and that is where the images you speak of come from. So actually, my digital work is the real departure from my real style, which is very classical and traditional looking figure paintings.

There appears to be quite a clear distinction in your own mind between digital and traditional art. Do you think it’s important for an artist to embrace both, or do you feel that one has more merit than the other? And what’s your opinion on the myth that digital painting lets the computer do all of the work?

Actually, I think the distinction between digital and traditional art is more in the viewer’s mind than in mine. To me, creating an image - whether it is digital or traditional - requires the same amount of effort and the same thought processes. My traditional clients will view digital art with suspicion because they do think that the computer does the majority of the work. I, as the artist, know that this is not the case; nevertheless if I want to sell traditional paintings, I try to work in such a way that the question of digital versus traditional never enters the discussion.

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Issue 041 May 2009

I don’t think that your question about embracing both digital and traditional is really valid. Please, don’t take that to mean that I’m looking down on the question; it’s just that, in my opinion, creating art is about creating art, regardless of the medium. We just happened to be in an era when there is a new medium arising. I’m quite sure the same question could have been raised back when oil painting started to replace the tempera as a medium.

I have no doubt that the amount of digital art created is going to continue to increase. I also have no doubt that good art will always be good art and the opposite will also be true.

We have reached the point where there is the digital equivalent of the Sunday painter – thank goodness! If it weren’t for the Sunday painter, Bob Ross, Gary Jenkins, and all the other PBS Saturday morning hour programming, artists would not be able to afford oil paint because the market would be so small. It simply wouldn’t be profitable for companies to produce the basic materials. The same is now happening with digital art; in particular I think of Poser and Daz Studio. Here are two applications that let the Sunday digital artist create their own worlds using existing models or by creating their own.

There is so much 3D content available that you would never have to learn how to model or texture and yet you would still be able to create images. It is the same as being able to paint without knowing how the paint is made.

Because of this huge market, content and 3D models have dropped to a ridiculously low price. You can find and buy a model for almost anything. In many cases you can find it for free, whereas not too long ago you would have had to pay a premium price for a 3D model. So really, the same thing is happening with this new medium. It is becoming more affordable for anyone to dabble in.

So I’m not sure if that answers your question precisely or not. I don’t think it is important to embrace either if you’re only interested in one or the other. The most important thing is to learn how to be a good artist. Generally, that is done more easily through traditional means, because most of the really good artists that are teaching are also traditional artists. But that is

Interview

also changing because now there are extremely

themselves. Or at least ones available to the

talented digital artist teaching, whereas 10 years

everyday person don’t think for themselves...

ago this was not the case. At some point I’m

yet.

Don Seegmiller

quite sure that digital art will be viewed as just another medium. We are not quite there yet, but

Once, I was letting a script play and Painter

it is getting close.

to create an image I had recorded earlier at a different size and resolution. It was chugging

The myth that the computer does all the work

right along doing its thing and I wasn’t paying

is also changing as the generations change.

much attention. Without knowing it, someone

Younger people are more likely to accept

had walked up behind me and was watching

computer art than older people are. Most of

the computer paint an image without any input

this comes from a better understanding of

from me. After a few moments they asked me

computers and how they work. It was probably

how this was being done. I simply replied that

much the same when society moved from

I hit the “Paint Like Don” button and that was

horses to cars. It is funny though when you

all I had to do, the image then painted itself.

think about it; the computer is a very powerful

They nodded their head and talked to me for

tool, but for the most part they don’t think for

a few moments more, and then the light finally

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Issue 041 May 2009

Don Seegmiller Interview

came on and they realised that I had actually

everywhere. Sometimes I carry more than one.

done something and the computer was simply

I keep several in my pickup and a couple in my

following my directions. There was still that

wife’s car. Given the chance I pull them out at

initial moment though where they believed

every opportunity.

the computer was doing the work - I still get a chuckle when I think about it.

I don’t know if this will make any sense, but this is kind of the reason I love my sketchbooks.

www.2dartistmag.com

You make some interesting comments about

When I was a child I had to draw. I would

sketching in your blog and on your website, and

draw on everything, including the edges and

it’s clear from the five pages worth of gallery

gutters of my school textbooks. Often this was

images that sketching is as natural to you as

an activity that was not greeted with much

breathing! What is it about sketching that you

enthusiasm by the adult world, though my

like so much? And do you just start sketching

parents didn’t mind at all. Now that I’m an adult,

and see where inspiration takes you, or do you

I still have to draw, but believe me, they are

already have ideas in mind when you put pen to

very different reasons for it. My sketchbooks are

paper?

really the art that I do for pleasure without the

Like I mentioned earlier, I carry a sketchbook

consideration of any commercial gain. Pretty

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Issue 041 May 2009

much everything else I do is geared toward making a living and supporting my family. Don’t get me wrong; I would rather make a living by drawing and painting someone else’s ideas than asking if they would like french fries with that order and only painting and drawing in the evenings!

I do admit that quite a bit of my digital painting which is based on my sketchbooks is also done for pleasure, although sometimes those pieces are also able to generate income. I have been asked frequently if I will ever do a book of my sketches. That project is in the works and hopefully this year there will be a small book of selected sketches available.

Which links neatly in with my next question: you’ve been featured in several books (such as d’artiste, from Ballistic Publishing) and you’ve also produced a number of your own, including Digital Character Painting Using Photoshop CS3 and, most recently, Advanced Painter Techniques.

How did you get into this line of work? And do you think it’s important for an experienced artist like yourself to be willing to share their knowledge with others?

Okay, this is an interesting question. I do have a number of books under my belt and even more rattling around in my head, but I never sought out the opportunity to write books. The publishers would come to me and ask if I would be interested in doing this type of work. Initially, I wasn’t. I had not written anything longer than a few random emails here and there and was not sure of my ability to actually write and illustrate a book. My last English composition class was in high school, which was a long time ago!

Now that I’ve done a couple of books, I can honestly say that it no longer terrifies me, but I still don’t enjoy the process much. I always feel rushed and never seem to be able to put the finishing touches on the paintings I use for the tutorials. However, I do feel it is important to continue to write books. There are a number of reasons really, but getting back to your question about sharing knowledge with others, yes I do think that’s important.

I have a basic belief that if I can make the road easier for others by sharing what I know then it will pay back beyond ways I can imagine. I’m not necessarily talking about myself receiving payback; in fact, that really isn’t in the equation. But if I can share something valuable with somebody else, then they might pass along it along too. I think if everybody tried to share the good aspects of their work and the knowledge that they have, then the world would be a much better place. Now that might sound pretty corny but it’s the truth. Having run a number of workshops online, coupled with writing the books, I think it’s fair to say that I have friends all over the world that I would never have had the opportunity to meet otherwise. I love it; they all seem to be great people and frankly it is hard to get mad

Interview

Don Seegmiller

or want to go to war with people you know on a personal basis. If my small interaction with others spreads good in any way, then it’s worth it.

On a less altruistic note, I have no problem showing other artists everything that I know and how I do things. I feel comfortable enough with my own art that I’m not afraid of someone taking what I share and competing in the same market. There are always going to be people with a lot more skill than I have, as well as people with less. We’re all on the same artistic road; some are just a bit farther down the line. I do know artists that will not share techniques or methods and it seems a real shame to me.

Yeah I definitely agree with you on that point – I bet there’s not one artist out there who can claim to have developed their own techniques without relying on the advice and knowledge of others. Okay, one last question just to tie things up: can you tell us a little bit about how art and the artist industry have changed for you over the years? And where do you see both the industry and your own work heading in the future? Is it all going to be about digital art?

How has the art industry changed for me?

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Issue 041 May 2009

That is an interesting question. Quite frankly, when I was younger I did more art. It took me longer because it was with traditional mediums.

I still love to work with traditional mediums, but they are slow when compared to digital mediums. I also wasn’t very good, although I thought I was God’s gift to the art world!

Now that I am a bit older I realize just how very much I still don’t know about creating art.

I do hope I continue to learn and I believe I am slowly getting better. I find that the speed of digital art allows me to experiment and that the results of these experiments almost always find their way into my traditional work, although it never works the opposite way around. I no longer think I’m God’s gift to the art world and realize that there will always be those that are much better than I could ever be and those that are not. I have become comfortable with what I do, as long as I feel I continue to push myself.

I am quite sure this is related to approaching middle age; of course as the years pass middle age gets pushed further and further out - thank goodness!

I guess the other major change is that in the beginning I was relatively inexperienced. Now I am now quite a bit more experienced than I used to be. This only comes from creating a large body of work that shows consistency and quality, which is something every artist should strive for over the years. Don’t worry about style; it will come on its own.

Interview

Don Seegmiller

I think there will always be a place for the traditional mediums. Aside from some sculpture and printmaking techniques, traditional mediums produce one-of-a-kind works of art. There will always be a demand for the unique. The line is going to blur – and already is – as artists use the computer to create under paintings, print multiple copies, and then paint over these under paintings to create a “unique” work of art.

Pure digital will continue to grow. As computers increase in power, as software packages have more tools and as the world changes around us, artists will use these tools and create things that we can’t imagine today.

One new thing I’m now seeing more of, which I rarely saw a few years ago, is the use of 3D printers to create sculptures. The most delicate and intricate fractals and other types of 3D data can now be made into a 3D model that you can hold in your hand. At this point it may be plastic or some sort of resin, but that can be easily converted into a metal piece of sculpture. I saw some incredibly beautiful examples of this at the last SIGGRAPH conference.

I hope to own a 3D printer at some point. The prices continue to drop and hopefully soon they will become as cheap, relatively speaking, as current 2D printers. I can’t wait for the day when I can take some of my 2D work and make them into 3D “images” that you can hold in your hand.

It’s a brave new world and I’m really excited about!

Thanks for the opportunity to ramble. It has been great fun and an honour.

Don Seegmiller For more work by this artist please visit: http://www.seegmillerart.com/ http://www.seegmillerart.blogspot.com/ Or contact them at: don@seegmillerart.com Interviewed by: Jo Hargreaves

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Issue 041 May 2009

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“I try to locate where an artist’s talent lies and then try to funnel that type of work to them. I also make sure that the work is varied enough so that nobody gets bored and un-creative. Keeping them on their artistic toes is how some would put it!”

Concept art lead for ArenaNet, Kekai Kotaki recently took time out from his daily schedule to talk to 2DArtist about everything from his background in art and what it’s like to work alongside the talents of Daniel Dociu and Jaime Jones, to how he keeps himself and others inspired and how to best sample a buffet. Along with a stunning portfolio from another of ArenaNet’s greats, this is an interview not to be missed!

Interview

Kekai Kotaki

Hi Kekai, thanks so much for taking this time out to speak to 2DArtist magazine. To kick things off, can you introduce yourself and tell us a bit about how things got started for you in terms of digital art? And what you’re currently up to in your career as a concept artist?

Hello, I am happy to be able to do this interview.

I was born and raised in Hawaii; I am of both Hawaiian and Japanese ancestry. I got my first taste of digital art back when I was a senior in high school; it must have been a copy of Photoshop 5, or something. And the Wacom tablet that they had was one of those huge clunky things the size of a desk with the pressure sensitivity of a brick! I was only able to use it for a short period of time and it wasn’t until I got into art school almost a year afterwards that I was able to truly start to learn how to use it. That was almost 10 years ago now.

I am currently busy working at ArenaNet on Guild Wars 2. My position now is Concept Art Lead. I still work on concept art, but also I have the additional responsibilities of taking care of my team and making sure everything is on track to ensure that Guild Wars is still recognised as one of the most beautiful games on the market.

Ah-ha, yes, Guild Wars! Such a title must bring a high level of responsibility and keep not just you, but also the whole of your team, at the top of your game and producing the quality artwork that the Guild Wars name demands.

But just how to you go about maintaining a team of happy scribblers? What is the studio environment like at ArenaNet – do you feel the space that you work in as an artist has an impact on productivity? Any tips?

It truly is a balancing act. On one hand you want your artists to be happy with what they are working on, but on the other hand it is a job and you do not want someone burning out on you. I

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Issue 041 May 2009

Interview

Kekai Kotaki

try to locate where an artist’s talent lies and then

To this end, the environment here is both loose

of no talking and just drawing can quickly kill

try to funnel that type of work to them. I also

and studious. The environment you work in can

creativity. One of the big strengths of working

make sure that the work is varied enough so

play a huge roll in your productivity. Too many

in a team is the interplay of thought and ideas.

that nobody gets bored and uncreative. Keeping

distractions can detract from your concentration,

Sharing thoughts with one another creates a

them on their artistic toes is how some would

while eight hours a day, seven days a week

fertile ground for bigger and more unique ideas.

put it! There is no real time limit on most of the work that people do, except for those times when somebody really needs something right away or if there was a set deadline beforehand.

Allowing an artist room to breathe and time to explore a concept is very important here at ArenaNet. However, at the end of the day, this is a job. I trust the artists to be responsible with their time. If someone is spinning wheels on a pretty painting that does little to push the concept that was assigned to them, it is partly my responsibility to get them back on track.

There are many assignments that may not be the most glorious jobs to work on, but they must get done and done to a level that matches the high artistic standard that we have worked so hard to establish here at ArenaNet.

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Issue 041 May 2009

In this way it is not just one artist working on a concept; it becomes a team effort, with everyone contributing in their own way. If there is one particular tip I can give it’s that information is key. Being an informed and knowledgeable person will help others because you can bring something new to the table to share.

“If there is one particular tip I can give it’s that information is key.

Being an informed and knowledgeable person will help others because you can bring something new to the table to share.”

Having studied a degree in animation, art and design before starting your career in the games industry, do you feel that your education greatly helped to get you to the level/position that we find you in today? It’s an age-old question isn’t it: To study at a university/institute/academy, or to self-teach? What are your thoughts?

[Laughs] It is a very tricky question. In hindsight, I learned more on my own than I ever did in school. Also, nothing compares to the things you learn once you get your first job in the industry. Having said that, I do think that going to art school was an important step. I came here to Seattle in 2000 after graduating from high school with no clue of what I really wanted to do. All I knew was that I loved to draw and that was it. In art school I was able to find out where the ground was so that I could put my feet on it. I also made friends, some whom are co-workers with me here at ArenaNet. So even though I could say that I learned nothing from art school and that it might not have been worth it, I can’t knock the fact that it was a beginning for me. Maybe that’s what the real question is: How do you want to begin your path as an artist?

Very well answered, Kekai! I’ll keep that question in my ideas pot for a future interview – love it! Can you give any examples of experiences, whether at art school or in your job, that really defined what and who you wanted to be? For example, any particular conversations, lectures or meetings that gave you one of those “light bulb” moments?

There are too many to count! It all blurs together and the end result is the artist that I am today and striving to become tomorrow. Hearing one of my teachers talk about the differences between Boris Vallejo and Frank Frazetta; how composition and emotion create greater art than staid highly rendered images; the first time I stumbled upon Craig Mullins’ website and saw what was possible with digital art; seeing Justin Sweet’s art for the first time and being able to say, “I want to create art like that!”; to the many conversations with Daniel Dociu about art, careers and life; meeting people like Jaime Jones and seeing the dedication up front in person; opening up my first copy of Bridgeman and studying the human figure. There are too many to name. I just try to live out the results.

After working with you on the Digital Art Masters: Volume 4 book project (like the plug?), I know that you’re greatly inspired by the books that you read. Also checking out your blog, http://kekai.blogspot.com/, your latest piece seems to have been inspired by a mythology book. But when books just aren’t doing it for you, how do you get yourself inspired and painting again? Any tips?

I am greatly inspired by the books I read. But sometimes there are no really good books out there. But there is a wealth of inspiration out in the world and all you need to do is go out there and find something that clicks with you. Look at photographs of beautiful places in the world. See the latest in graphic design. Look at artists, both current and past. Go and see the latest summer blockbuster or rent the indie hit of last year. Buy that hot new game that just came out. There are many things out there, and I try to make sure that I taste them all. When you go to the buffet line you should try and get as much different food as possible. Only when you’ve worked out which ones you like do you go back and pile your plate with those select choices!

Interview

Kekai Kotaki

Loving the food analogy, Kekai (I feel hungry

my head that I want to happen. Painting the

express myself. I start rough and simple; grey

now – buffet, anyone?) – great answer! With so

concept is just me trying to remember that

and white to begin with, moving later onto a

much inspiration and so many ways with which

feeling and expressing that in the concept. All

monochromatic colour scheme that is usually

to feed your brain, how do you get everything

the compositions, figures studies and design

warm browns and greys. When I am getting

down into material form? Do you carry a

rules are there for me to use in order to better

towards the end of a piece I try to pick a colour

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Issue 041 May 2009

sketchbook, or perhaps an electronic one? …

Make notes on the train? Could you also give us a pretty basic outline of how you go about your average concept painting, from initial concept through to the final painting?

I always seem to have a sketchbook handy. Or if not, then any sort of variation on a pencil and paper will do if I want to jot down a quick idea.

But that is really just visual information. The stuff I am really interested in is the mood, feeling and emotion of a particular idea. And that is best kept with memory. Taking down a quick sketch helps jog the memory. When starting a concept it is a very similar process: I begin with some sort of prompt, whether it comes from design or me, and I try to have a finished “feeling” in

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to paint into the concept. Details in figures and environments are done in the same fashion – rough and loose with continued refinement. Since the concept is based on the feeling that I am trying to find, nothing is safe. Things change according to how I feel about the piece. I try not to get hung up on small details that may look cool by themselves, but overall aren’t helping anything. This continues until the piece is done.

We’re huge fans of the Guild Wars concept art here at 2DArtist. What is daily work life like exactly, working at ArenaNet as a concept artist alongside great artists such as Daniel Dociu, Jaime Jones and Jason Juan to name just a few?

Invaluable. Humbling. Fun. One of the great things about working in this sort of environment is that you are “there” when it happens. It’s one thing to see the finished product, but to be there and actually see it happening before your eyes? Nothing really beats that, and the flow of ideas that happens naturally. I am always learning something on the job. There is always something more to push. It is a great place to be, and I hope I never leave.

Well, we hope you don’t leave either! It’s rare to find a place of work that makes you smile in the morning, so it’s really wonderful that you’ve found your place in the world. Kudos! Now, I’m just being nosey here, but could you possibly give us a “day in the life of Kekai” and tell us a little about what happens on your average day as concept art lead?

My average day consists of me trying to keep ahead of everyone else, while still trying to create art on my own. The main goal is to try and stay aware of what is going on in the different departments that are connected to concept art. This happens by keeping in contact with the various art leads and producers of the company, finding out what is being worked on and what is coming up next in the pipeline. Since we outsource a fair amount of art, but not concepts, keeping track of the various drop off dates and making sure concepts are prepped properly has become a major part of my job description. Also making rounds through my own department to make sure everyone is on track and that everyone has the proper information plays a big part in my day too. There are also a fair amount of meetings that happen to deal with different issues that pop up. Actually formal meetings do not make up that much of my day; most problems are solved on a case by case basis as they come to my attention. In between all of this I try to sit at my desk and finish what work needs to be done. Somehow it all comes together, which I am not sure is part of my job description [Laughs]!

I’m often interested in the tools that artists use - hardware, software etc. - and also how they go about backing up their work to insure against HD crashes or other such problems. So what are your chosen tools to aid you in your fantastic creations? I know that having all the right tools doesn’t make a great artist, but it’s always interesting to learn what artists and using and why.

That is a very true statement. But at the same time it is nice having the best stuff. My setup when I am working is a very basic one: I use Photoshop CS2 – nothing really grabbed me about CS3 – and I am still waiting to get CS4. I tend not to change something just for the sake of changing it. I use an Intuos 3 tablet. And there’s nothing much beyond that. I have a work laptop that I like to back stuff up on. I am a big believer in keeping things simple.

Sure, I agree with you there! Talking about keeping things simple: do you paint traditionally, at all?

I dabbled in traditional painting a few years ago, but I lacked the patience and motivation needed to learn something like that. I hope to pick it back up again someday in the future.

Right now the only traditional art I do is the sketches in my sketchbook and charcoal life drawing studies.

Interview

Kekai Kotaki

Okay, so we’ve discussed life as a concept artist, work at ArenaNet, tools of the trade … but what about the artist beyond the art – what do you get up to in your free time (if there is such a thing!) when you escape the world of pixels for the one made of all things bright and beautiful?

[Laughs] Free time…? What is that? I joke … kind of. There are very few things in my life that aren’t connected in some way to art. I could say that I like to read books, go to movies, look at comics … but then I am using that as a way to help me better my art. I like to hang out with friends, but of course many of those are great artist themselves. I guess the best way I get a break from art is by kicking back with a beer and watching the latest TV drama with no redeeming value ... then again, that only makes me want to get back to doing art!

Well, you’re a true artist, Kekai – you live and breathe the stuff! Finally, I’ve just realised I haven’t asked you about your artist favourites: whose artwork do you regularly follow and turn to time and time again?

I try to keep up with any number of artists on the different art forums. I try to stay aware of

what is going on in the concept art world. But there are a few favourites of mine that I look to for inspiration: Justin Sweet and Vance Kovacs; Ashley Wood is another; Jaime Jones falls under this too. Daniel Dociu is in here by default; I work under his nose and he is my art director, so it is kind of hard not to be affected by him. Alex Kanevsky and Jenny Saville are two amazing fine artists. I also have a huge number of friends that I try to keep tabs on. There are also the random art book that I have open on my desk - right now there’s an awesome dinosaur book that Matt Barrett lent to me.

But the fact of the matter is that I try to find the good in all art. There is always something more to learn, and you cannot limit yourself.

Thank you for giving me the chance to do this interview. I had a fun time.

The pleasure is all ours Kekai, talk to you soon!

Kekai Kotaki For more work by this artist please visit: http://www.kekaiart.com/ Or contact them at: kekai.k@gmail.com Interviewed by: Lynette Clee

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Vancouver Film School alumni credits include Across the Universe Geeta Basantani, Digital Compositor Alias Scott Dewis, Visual Effects Artist Ant Bully Ben Sanders, Character Animator | Rani Naamani, Animator | Ernesto Bottger, Character Animator AVP: Alien Vs. Predator Shawn Walsh, Color & Lighting Technical Director Babel Luis Blackaller, Storyboard Artist | Lon Molnar, Visual Effects Supervisor Battlestar Galactica Daniel Osaki, Lead Modeler | Megan Majewski, 3D Animator | Alec McClymont, 3D Artist Blizzard Entertainment Alvaro Buendia, Cinematic Artist Bolt Lino Di Salvo, Supervising Animator/Voice of Vinnie Charlotte’s Web Aruna Inversin, Digital Compositor | Adam Yaniv, Character Animator | Tony Etienne, Lead Lighter Kristin Sedore, Lighter Chicago Lon Molnar, Animation Supervisor The Chronicles of Narnia: The Lion, the Witch and the Wardrobe Kristin Sedore, Lighter | Shawn Walsh, Lighter | Adam Yaniv, Character Animator The Chronicles of Narnia: Prince Caspian Andreas Hikel, Pre-Visualization Artist | Christoph Schinko, Character Animator | Jami Gigot, Senior Layout Artist Cloverfield Nicholas Markel, Pre-Visualization Supervisor Constantine Aruna Inversin, Digital Compositor The Dark Knight Pietro Ponti, Lead CG Lighting Artist Dead Like Me Daniel Osaki, Visual Effects Artist | Alec McClymont, 3D Artist Diablo III Alvaro Buendia, Cinematic Artist | Steven Chen, Cinematic Artist Family Guy Michael Loya, Storyboard Artist Fantastic Four: Rise of the Silver Surfer Arun Ram-Mohan, Lighting Technical Director | Shawn Walsh, Visual Effects Executive Producer | Jessica Alcorn, Compositor Flags of our Fathers Aruna Inversin, Digital Compositor Gears of War (VG) Scott Dossett, Animator The Godfather (VG) Kirk Chantraine, Motion Capture Specialist The Golden Compass Adam Yaniv, Animator | Chad Moffitt, Animator | Thom Roberts, Animator | Ben Sanders, Animator Andrew Lawson, Animator | Matthias Lowry, Visual Effects | Tony Etienne, Look Development Justin Hammond, Lighter Technical Director | Aruna Compositor | Fion Mok,

Your name here.

Pearl Hsu, Effects Inversin,

Digital

Matchmove Artist

Hairspray Lon Molnar, Visual Effects Production Executive Halo 3 Bartek Kujbida, Character Animator Happy Feet Ben Sanders, Character Animator | Thom Roberts, Character Animator Harry Potter and the Prisoner of Azkaban Shawn Walsh, Color & Lighting Technical Director Harry Potter and the Order of the Phoenix Pietro Ponti, Technical Director Harry Potter and the Half-Blood Prince Harry Mukhopadhyay, Lead Effects Technical Director Hellboy Aruna Inversin, Digital Compositor Hellboy II: The Golden Army Christoph Ammann, 3D Sequence Supervisor Horton Hears a Who Arun Ram-Mohan, Lighting Technical Director | Brent Wong, Modeler Hulk Geoff Richardson, Visual Effects Editor I, Robot Daniel Osaki, CGI Modeler | Megan Majewski, Pre-Visualization Ice Age: The Meltdown Ben Sanders, Character Animator | Arun Ram-Mohan, Lighting Technical Director The Incredible Hulk Shawn Walsh, Visual Effects Executive Producer Tony Etienne, Look Development Lead Indiana Jones and the Kingdom of the Crystal Skull Henri Tan, Creature Technical Director Iron Man Adam Marisett, Visual Effects Artist King Kong Chad Moffitt, Senior Animator King of the Hill Michael Loya, Director Kingdom Hospital Daniel Osaki, Visual Effects Artist | Megan Majewski, 3D Animator | Alec McClymont, 3D Artist Kingdom of Heaven Shawn Walsh, Digital Compositor Letters from Iwo Jima Aruna Inversin, Digital Compositor Live Free or Die Hard Jessica Alcorn, Compositor Lord of the Rings Trilogy Chad Moffitt, Senior Animator Lost Scott Dewis, Visual Effects Artist Lucasfilm Animation Singapore Sandro Di Segni, Senior Effects Technical Director/Lead Digital Artist | Ming Chang, Lighting Technical Director | Adrian Ng Chee Wei, Character AnimatorSeema Gopalakrishnan, CG Software Developer Mass Effect (VG) Sung-Hun (Ryan) Lim, 3D Modeler Matrix: Revolutions Aruna Inversin, Digital Compositor | Shawn Walsh, Color & Lighting Technical Director Master & Commander: The Far Side of the World Robert Bourgeault, CG Artist Metal Gear Solid 4 (VG) Josh Herrig, Artist | Yuta Shimizu, Artist The Mummy: Tomb of the Dragon Emperor Aruna Inversin, Digital Compositor Night at the Museum Allen Holbrook, Animator | Adam Yaniv, Character Animator | Chad Moffitt, Animator | Kristin Sedore, Lighter Persepolis Marianne Lebel, Animator Pirates of the Caribbean: At World’s End Ben Sanders, Character Animator Allen Holbrook, Animator | Aruna Inversin, Digital Compositor The Pirates Who Don’t Do Anything: A VeggieTales Movie Mike Dharney, Animation Supervisor Reign of Fire Lino DiSalvo, Animator Resident Evil: Extinction Joshua Herrig, Visual Effects Artist Robots Arun Ram-Mohan, Additional Lighting Rome Teh-Wei Yeh, Matchmove Artist The Santa Clause 2 Aruna Inversin, Digital Compositor Daniel Osaki, Visual Effects Artist Scarface (VG) Maya Zuckerman, Mocap 3D Generalist Shrek the Third Rani Naamani, Animator Shrek the Third (VG) Samuel Tung, Technical Artist Sin City Michael Cozens, Lead Animator Smallville Geeta Basantani, Lead Compositor Speed Racer Aruna Inversin, Digital Compositor Star Wars Episode III: Revenge of the Sith Andrew Doucette, Character Animator | Nicholas Markel, Pre-Visualization Star Wars: Knights of the Old Republic (VG) Arun Ram-Mohan, 3D Artist | Jessica Mih, Level Artist Stargate SG-1 Aruna Inversin, Digital Compositing Artist | Daniel Osaki, Visual Effects Artist | Shawn Walsh, Digital Effects Supervisor Stargate: Atlantis Daniel Osaki, 3D Animator | Megan Majewski, 3D Animator | Alec McClymont, 3D Artist Sweeney Todd: The Demon Barber of Fleet Street Jami Gigot, Concept Artist Transformers Allen Holbrook, Animator | Henri Tan, Creature Technical Director

3D AnimAtion & ViSuAl EFFEctS | clASSicAl AnimAtion | DigitAl chArActEr AnimAtion

Vancouver Film School. Countless paths. vfs.com/animationvfx Unreal Tournament III (VG) Scott Dossett, Artist Valiant Robert Bourgeault, Lighting Technical Director Viva Pinata Megan Majewski, Animator WALL-E

Mark Shirra, Layout Artist Watchmen Jelmer

Boskma, Previs Modeler | Lon Molnar, Visual Effects Supervisor | Cynthia Rodriguez del Castillo, Visual Effects Artist World of Warcraft: Burning Crusade (VG) Carman Cheung, Animator A Wrinkle VFS student work by Jeff Plamondon

in Time Aruna Inversin, Digital Compositor and many more.

It’s always nice to have an A4 sheet and a pencil at your fingertip s – a sudden whim can always be embodied into visible forms and contours...

Sketchbook

Ivan Kashubo

Demonic The day I started this image I felt like drawing something demonic. It’s pretty fun to invent evil, scary creatures – room for imagination in this area is definitely unlimited! So I launched Photoshop and made a quick sketch, paying minimum attention to detail. It’s important when sketching to capture the spirit, silhouette and basic features of your character’s personality.

Continuing with the sketch I searched for favourable lighting and shadows. At this stage it was crucial to stress the character’s mood.

Then the details followed. The ideas and shapes were born in my head throughout the process of drawing, and I tried to transfer them into the picture as precisely as possible.

As I was drawing the demon I gave him such artefacts as chains, pendants, belts and tattoos.

All these, I felt, were clear indications of where the creature originated. To finish up the drawing, I added some detail to the background – and the sketch was ready (Fig.01a - Fig.01e)!

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Issue 041 May 2009

Sketchbook

Ivan Kashubo

Knight Like many other artists, when I have time I draw sketches just for fun. On this occasion it came to my mind to draw a monster with human anatomy – a big one, with massive muscles. I usually use Painter and Photoshop, but in this case I decided to use Photoshop only. For me, this application is the most flexible and convenient when creating sketches, as well as making a full set of drawings.

For starters, I made a quick linear sketch. In process of drawing I gave the character a mask and a sword. I chose a theatrical posture for the character (so that it looked more expressive). When drawing preliminary sketches I usually don’t go into too much detail, as many ideas and shapes come to mind later on.

With the original sketch finished I decided to add some colour and lighting to the character. At this stage everything was based on large colour spots: lights, tones, halftones, shadows. When the general silhouette became

distinguishable I moved to the details of the mask, body and clothes. I then approached the background. Usually, when I draw a character I pay little attention to its surroundings. I often place my characters onto a white or another neutral background. Sometimes I use background textures, and this was the case with the Knight.

As the final stage I used textures which made the drawing more lively and detailed. I applied the textures with the overlay layer effect: chrome on the mask and the sword (in bright spots), leather (on the belt and the wristlet), and fabric (on the clothes). I then deepened the shadows and brightened the highlighted areas. And done! It was lots of fun drawing this character (Fig.02a - Fig.02e).

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Ivan Kashubo Sketchbook

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Issue 041 May 2009

Sketchbook

Ivan Kashubo

Pan Sketches This first drawing was done with pencil on the paper. With this character I wanted to convey the spirit of a demonic warrior. The idea was to merge the warrior’s armour with some fantasy evil tones. The character turned out solid, whilst at the same time not over-detailed.

It’s always nice to have an A4 sheet and a pencil at your fingertips – a sudden whim can always be embodied into visible forms and contours, like with this second sketch. The idea of this image was something post-apocalyptic.

The character was invented quickly and I created the drawing without any excessive complexities. In my view, the resulting drawing was a fairly well-grasped character (Fig.03a & Fig.03b).

The Tempting Seduction The theme for this one was witches and vampires. The most difficult thing was to come up with the lively shape. Posture, lighting, and colour – everything had to stress the temperament. Starting the work I decided not to draw the whole figure but rather concentrate on the face.

The image of a spiteful, wrinkled old woman came to mind. I made a quick linear sketch in Photoshop and proceeded – in an unusual (for me) way – with the background. It gave me the idea of the general feel of the picture and its lighting. I stopped my choice at the orange-brown gamma, which I thought best suited the character.

The picture implied an old photo with scratches in a vintage style.

After the background I started drawing the face; because I had already decided on the colours and lighting, it wasn’t difficult to detail the face. I added vampire canines, which made the image look mystical, and went on with further traits: some wrinkles, warts and patterns on fabric to strengthen the witch/vampire appearance. I then flattened all the layers and added contrast and saturation to the image.

The whole piece took me no more than three hours (Fig.04a - Fig.04f).

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Ivan Kashubo Sketchbook

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Issue 041 May 2009

Sketchbook

Ivan Kashubo

Fat Man I came across this topic quite by accident – a vague idea without any specific character came to mind. This time it was all about searching during the process of drawing. For starters I made up a background texture for the planned sketch. I then moved to the silhouette. The initial intent was to draw a fat, human-like, grinning monster. Having drawn the approximate sketch I started searching for the character’s temper: scary face, massive stomach hanging down, and a big, fat bottom – all these elements create an expressive figure.

During the process of drawing, however, I changed the character. The main idea

remained, but the malicious monster gave way

I started with a linear sketch. In the next step

to a sad man. When you draw a quick sketch,

I took care of the lighting: a bright light to the

the process of searching for forms and character

right, big reflection on the left and the shadow

is really enjoyable. Fast sketching sometimes

in the middle produced a dramatic mood

leads to unexpected results – even for the artist

inherent to the character. After finishing with

himself. So, as soon as I found the character,

the greyscale sketch, I moved to tinting the

I approached the details. I exaggerated

image. This was accomplished very quickly

his anatomy and, done with the positioning

using the “Colour” effect. As the background

of his arms, moved to the more detailed

was red-orange (warm), I made the shadows

representation. The tattoo on his shoulder was

dark blue (cold). It resulted in a desirable

the finishing detail; I then added some noise to

contrast in the lighting.

the background and increased the contrast of the picture’s lighting. The character turned out

After basic colours of the character and

rather charismatic!

background were established, I moved onto the details: deepened all the colours, added

Special thanks for help with this character must

contrast to the image, stressed the basic lines

go to my friend, Alexander Ovchinnikov (Fig.05a

of the character’s expression. Since this was

- Fig.05f).

just a sketch, I didn’t go too far into details. It

Frankenstein

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was more relevant for me to grasp the mood of the image. In the end I added some noise

Some spare sketch time turned up. After

and texture to the background. I like my

some short reflection on the topic I took to

sketches to have a vintage appearance as it

Frankenstein – a cult character, as scary as he

looks elegant and requires little effort to create

is unfortunate. After taking a look at references

(Fig.06a - Fig.06e).

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Issue 041 May 2009

Ivan Kashubo Sketchbook Fire Hand During the search for a character a lot of different shapes come to mind.

The challenge here was to catch the best one and put him onto the canvas as precisely as possible. Sometimes I look through the works of other artists. This helps to select a theme and get some inspiration.

I like drawing monsters. It’s always fascinating to create something new and unique with your own imagination and a brush at hand. So when drawing this character I again proceeded from a linear sketch. Some people start from big forms, silhouettes, but I still prefer to begin with lines. After outlining the character’s posture, I got to the tinting of the image. At this stage it was convenient to start with greyscale, as you can clearly see the light, halftones, and tones, and you will hardly mess up with colouring using this method.

With the lighting done, I moved onto the details. In this part of the work I often use custom brushes. They allow you to diversify an image and sometimes lead to unexpected results which in turn stimulate new ideas.

As this was just a sketch I could have left it as greyscale, but then I found it interesting to stress some details of the image with colour. The character itself was left greyscale, whereas the flaming hand, the jaws in fire, and the smoking eyes were collared red. Such colour accents always look fine and help to draw attention to the notable features (Fig.07a - Fig.07c).

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Sketchbook

Ivan Kashubo

Orc When I started this drawing I didn’t have any particular idea in mind, only a hint of the topic – warrior, knight, battle ... After some short reflection, I leaned towards a fantasy character, somewhat like an orc or ogre. After a quick linear sketch I approached the colour. This time I didn’t do greyscale, but immediately moved into colour – the mask, the skin’s tint, the outfit and the sword. This stage was akin to the comic style of drawing. Sometimes it’s lots of fun deciding the colouring in such a way.

I then leaped into the background. It was a fairly quick-and-rough painting. Once done with the background I reverted to the character.

Drawing details is always interesting and involving: the textures of metal, skin, fabric, small pieces of clothing, all these can be perfected for hours. Gradually, the drawing became more and more distinctive.

Once the main character was finished, I returned to the background. Vague tints behind the orc looked somewhat dull, so I decided to enliven the background with some battle signs – dead bodies, spears, flags. I made these details blurred so that they didn’t draw attention away from the foreground. In the end, I put a few blood stains on the orc, which also refreshed the image and stressed its basic intention. To finalise, I flattened all the layers and sealed with contrast, saturation and sharpness. And that’s all (Fig.08a - Fig.08f).

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Issue 041 May 2009

Ivan Kashubo Sketchbook Warlord The theme for this was a warlord. This particular day I wanted to draw something brutal and cruel, though not frightening or disgusting. It was to be a powerful character with distinctive muscles and fantasy elements.

When I started with the sketch I didn’t have an integral form in mind. For starters, I found the warlord’s posture and silhouette in black and white. For me, this first stage of drawing is one of the most exciting.

I added details to the armour in the linear manner. During the process of drawing came some weird-looking elements on the back of the character – huge tentacles with spiky tips.

I moved to the tinting of the image (bright and dark areas of the composition). I decided to make the background rather bright so that the character appeared dark and thus looked more attractive. Keeping a good eye for contrast is one of the most essential rules of drawing.

Interesting drawing is hardly possible without appropriate contrast.

I managed the details: chains, pendants, metal elements of the armour, a sword, and finally the warlord himself. After I finished the details I flattened all the layers and through the background added some “airiness” to the image. It is always important to keep the foreground, middle ground and background dealt with properly. As a final touch, I used Levels, Colour Balance and Hue/Saturation to tweak the image. And done (Fig.09a Fig.09f)!

Ivan Kashubo For more work by this artist please visit: http://kashivan.cgsociety.org/gallery/ Or contact them at: ivankash@mail.ru

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Issue 041 May 2009

This month we feature: Loic e338 Zimmermann Ioan Dumitrescu aka Jonone Yigit Koroglu Frio Marcin Jakubowski Sergey Musin Sergey Vasilev Simone Maranzana Cynthia Sheppard Patrik Hjelm

10 of the Best

Cradle of Life

The Galleries

Alchemist’s Treehouse

Frio

Sergey Vasilev

http://frioart.ru

http://www.cat-a-pult.com

frioart@mail.ru

caesar@cat-a-pult.com

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Issue 041 May 2009

Half Her Heart’s Duet Cynthia Sheppard http://www.sheppard-arts.com sheppardarts@gmail.com

The Oath Yigit Koroglu http://www.yigitkoroglu.com yigit@yigitkoroglu.com

http://www.yigitkoroglu.com, yigit@yigitkoroglu.com

10 of the Best

The Galleries

Clash in the Crystal Skies Ioan Dumitrescu aka Jonone jononespo@yahoo.com

Lizard City Matte Sergey Musin http://www.samfx.com musinart@aol.com

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Titanomachy: Fall of the Hyperion Marcin Jakubowski http://www.balloontree.com marcin@balloontree.com

Credit: Marcin Jakubowski, www.balloontree.com

10 of the Best

Haunted Church

The Galleries

Cthulhu

Simone Maranzana

Patrik Hjelm

http://www.simonemaranzana.com

http://unidcolor.deviantart.com/

guitarsimo80@yahoo.it

www.2dartistmag.com

unidcolor@hotmail.com

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Issue 041 May 2009

Innocence, Marta Loic e338 Zimmermann http://www.e338.com

PMS COLORED 116 U 404 U

®

modo is for artists

3D image created in modo

by Luxology.

Credit: Gelmi 3D image created in modo by Luxology. Credit: Gelmi For more information, visit modo3D.com

TM

Welcome to the Stylised Challenge!

Every month we run this challenge, which is open for anyone to enter. The challenge runs in the conceptart.org forums and winners get to choose prizes and goodies from the www.3dtotal.com shop! They’re also featured in this very magazine, where we display the winners from the previous month’s challenge, as well as the “Making Of’s” from the month before that.

Centaur Stylised Character challenge

Stylised Challenge

8th

Centaur

7th

The Challenge Welcome to the Super Stylised Monthly Challenge. Each month we select a theme and post some images in the Forum Thread for reference. All you have to do is to create a

Romero

2D image in line with this theme in a stylised / abstract / cartoon style, whilst keeping your

6th

image instantly recognisable. We wanted to publish some content in 2DArtist magazine on how to create stylised images, such as you see in the many feature films and cartoon galleries.

6th

Nathan Stoltenberg - Wafflekoan nlstoltenberg@gmail.com http://nstoltenberg.wordpress.com/

6th

Jason Smith - Macaruba info@macaruba.com http://www.macaruba.com

6th

Tolgatanyel Albertocubatas We thought this regular competition might bring in just the images and “Making Of’s” that

6th

we need, whilst giving away great prizes and exposure. This month’s theme was “Centaur”.

Here you can see the top placed entries, as voted for by the public.

What are we looking for?

Funny and humorous entries which break the theme down to its most recognisable components; emphasise these in whichever ways you think best, and render your stylised / abstract / cartoon masterpiece. The rules are

Marc Garcia - Marcuswelbey two2lions@gmail.com

pretty laid back: please submit 1 x 3D render

Murdokx

(minor post work is OK); its up to you if you want to have a background; include some graphical

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Issue 041 May 2009

Centaur Stylised Challenge 6th

5th

Arturo Aguirre - Artina

Oriol Muñoz Anguera - Urih_pta2

artinastudio@gmail.com http://artinastudio.blogspot.com

urih.pta2@gmail.com http://www.urih-pta2.blogspot.com

5th

4th

Richard G.D. Baker - The Antarctican

Rvdtor

cirqus@cirqus.com http://www.cirqus.com

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Issue 041 May 2009

Stylised Challenge elements or text on your image. Renders of the 800 pixel dimension sound

Centaur

3rd

about right, but the winners will be featured in 2DArtist Magazine, so if you can create some higher res images too then all the better!

There will be one competition per month, with the deadline being the end of the month (GMT). For a valid entry, just make sure your final image is posted in the main competition thread before the deadline. We require the top three winners to submit “Making Of” overview articles that will be shown on either 3DTotal or in 2DArtist Magazine. These need to show the stages of your creation - different elements and some brief explanation text - of why, and how, you did what you did. We will format this into some nice-looking pages to give you some great exposure, and us some quality content. Each competition will have one main thread which starts with the brief at the top. All entrants should post all WIP’s, give feedback and generally laugh at the crazy ideas that are emerging each month...

2nd Felipe Fernández Morell - Bstsk contactos@ffilustracion.com http://www.ffilustracion.com

Challenge Thread The entire Centaur competition can be viewed Here

The current challenge at the voting stage is: Jester (Fool!)

The current challenge taking place is: Robots

To join the next challenge, or to view previous, and / or current entries, please visit: www.conceptart.org

Or contact: Lynette@zoopublishing.com

Jan Pedroietta - Jpedro jpedro@jpedro.com http://jpedro.cgsociety.org/gallery/

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1st: Chate Noire Aviv Or For more work by this artist please visit: http://chatenoire.deviantart.com/gallery http://www.avivor.com Or contact: them at: avivor@gmail.com

Stylised Challenge

Centaur

Making Of’s Here are the “Making Of’s” from last month’s top three winning entries...

3rd Urih pta2 Software Used: Photoshop

This being my second “making of” for 2DArtist’s Stylised Challenge, I will admit that I tend to lean more towards the disorganised illustration rather than the stylised design of a character.

At the beginning, the subject didn’t really catch my attention, but I started to throw some lines down anyway (Fig.01). I was pretty much searching for a typical cyclops, such as that by Ray Harryhausen. Lately, I have been inclined to move more towards the macabre in my

drawings, but this time I didn’t want to make a morbid image. It was hard for me not to do this, and I didn’t quite achieve it completely. You see, the original idea was a cyclops prisoner and a girl running away from a village.

The girl was supposed to help the cyclops but in the end it seemed more like the cyclops had kidnapped the little girl!

Once the sketch was done I started to fill it with colour and define the volumes (Fig.02). I didn’t want a filthy, dirty cyclops so I coloured him with pale colours to make him look nice and clean – no blood, no mud. I was sure that I wanted to play with the lighting in this image; he had a very bare body and I needed the power of light to enhance it.

As I mentioned before, the cyclops was running away with this little girl.

The second light was added to the scene to imply a situation where the cyclops is faced with arrows of fire being shot towards him, from behind.

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Issue 041 May 2009

Centaur Stylised Challenge But, little by little, the idea kept changing.

People do not usually escape in the daytime, do they? Besides, the second light had to be very strong, so it was not going to work out as I’d imagined. So the sky went dark and everything started to take form from then on: the moon, the village, the arrows, more lighting (Fig.03). I multiplied the blue layer in order to give the skin a nocturnal shade at this stage of the painting process.

I didn’t like either the forest or the path, they were too forced. So I moved back in time – in terms of the escape – and I placed the pathway in the middle of the village instead. It was an ancient European village, early Medieval, with an enormous moon – this gave me more options to play with second and third light sources (Fig.04). The cyclops was saturated with orange in order to get more contrast, and I decided to wait to give the cyclops blue tones. At the end of the work, I make him darker using the same tone of the skin. By re-sizing the image I also

managed to centre the protagonist in the scene. As mentioned before, the girl was supposed to be a friend of the cyclops, but as the illustration advanced, her role changed. The expression of the girl’s face shows fear.

Finally, I obtained the fairy tale tone with a blue photography filter in Photoshop. In order to contrast the blue I used orange lights produced by the windows in the village. The final idea became a cyclops running away from the village with a girl as his hostage (Fig.05).

Thanks for reading – and don’t forget to love walls!

Oriol Muñoz Anguera For more work by this artist please visit: http://www.urih-pta2.blogspot.com Or contact them at: urih.pta2@gmail.com

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Centaur Stylised Challenge

2nd Gnahz Software Used: Flash and Photoshop

Whenever I think of a cyclops, what comes to mind is a half-naked, big, burly, Greek mythological creature, carrying a big hunting club. Since a cyclops has only one eye, I wanted a contrasting creature in the image that the cyclops is hunting.

I wanted to break away from my usual creation process of drawing for this round, so most of the work was done in Flash.

Step 1 I started by making a few sketches and doodles (Fig.01) just to find my ideal concept. Generally I like to sketch egged-shaped characters; it looks more comical that way. Finally I settled for the drawing of the blurred-looking cyclops with a multi-eyed creature (Fig.02).

Step 2 I wanted a vector look for this drawing, so I took

(Fig.03). I used the brushstroke tools in Flash

produced some nice thick and thin lines based

the sketch into Flash and traced the outline

to create the outline for this drawing, as they

on the amount of pressure.

Step 3 I wanted a different style to my colouring method for this round of the Stylised Challenge.

I changed the red outline to replace the usual black one. I then slapped on a base colour before proceeding with filling the colours in (Fig.04).

Step 4 Keeping in mind that I wanted to use just three or four colours to complete the drawing, I chose colours that were in a close range to one other.

In this case, the colours used were red, yellow and orange (Fig.05). Using the line tool in Flash, I separated the areas that need to be shaded.

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Centaur

Shades of colours were then carefully added at this stage, to create depth and volume. There are no highlights in this drawing, as I wanted to keep it really simple. Shadows were finally added in the last part of this step (Fig.06).

Step 5 With the overall drawing almost complete, I decided to create an old poster, worn out kind of look. I was then inspired by the PC game that I was playing at the time, Fallout 3! So I took the final image into Photoshop where I added a couple of stock backgrounds I had saved on my computer. I toggled between the blending tools until I reached the desired effect, and then finally, the overall drawing was complete (Fig.07).

I hope you have enjoyed the simple making of this fun image. Thanks for reading!

Adrian Zhang For more work by this artist please visit: http://gnahz.deviantart.com/ Or contact them at: adrian.zhangzhiwei@gmail.com

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Centaur Stylised Challenge

1st Oritey Software Used: Easy PaintTool SAI and Photoshop

Hello, my name is Oleg Yorkov, a.k.a. Oritey.

I am going to describe the process of painting my illustration for the Cyclops challenge, which I have titled “DOOR”. The idea to paint the door came to me suddenly, as a flash. I thought about designing an original cyclops ... one way or another, and then, bang! A door as a cyclops!

So I quickly began putting the idea to life.

I always paint on a canvas 3000 by 3000 pixels, at 300 dpi and I only use the programme, Easy PaintTool SAI. I just like this programme and I respect its creators. It’s very easy to use and

on the floor laughing, as well as painted the

painting with it is an absolute pleasure. I fill

wall onto which I added a picture of the door’s

the canvas with any neutral colour (the colour

hands. Some graffiti was also added to the wall,

depends on my feeling at the time), because

and I felt that I had made a more interesting and

my eyes hurt if I draw directly on white. I draw

clear idea at this stage (Fig.02).

my idea with a darker colour than the canvas When drawing, I hid all layers except for the

(Fig.01).

door, because this was the most important For a more interesting story there was a need

element in the picture which I wanted to detail

to add some key objects. I drew some kids lying

at this stage. For this purpose I used a brush

that I created, which I call “plasticine”, because drawing with it feels like sculpting (Fig.03) – I could “sculpt” all day if I was not stopped!

Drawing the door I understood that just one door by itself was not very interesting. I therefore decided to make it ugly. Every time I pass by my neighbour’s door, I think about what I could do with it. And so I expressed all my love to my neighbours in this project!

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Centaur

I broke the door’s surface to form a mouth; an eye was already present. I also painted some scars onto the “face” of the door (Fig.04).

Hands showing an incorrect gesture had to be deleted here, and I painted them instead to represent tentacles (Fig.05). I felt like some notes should be written onto the wall to make it more believable. At first I wanted to express all my philosophy here, but I decided that not everybody would understand my idea and so I simply wrote, “ME EATS HUMANS!” onto the wall (Fig.06). the tentacles on the wall. I didn’t forget to

the tiles were broken and absent in some places

I continued adding more details to help me

add shadows to make the cracks look more

because somebody had probably broken/

create the story. There was a need to draw

embossed. I then had to make the shadows

stolen them. Once again I added some volume;

strewn plaster on the floor, which had fallen

deeper because they were quite small at this

this work was very tedious but I still enjoyed it

from the wall and created the impression of

stage. The floor in the hallway were not good;

(Fig.07).

I showed my work to Inessa Kirjanova. She is a good artist and has more experience than me.

After evaluating my finished work she told me there was not enough of a dramatic effect, and showed me with the help of an over paint how she envisaged the picture. The image became much more interesting and dramatic (Fig.08).

In spite of this, I felt a lack of something, and I decided to add some characters to make the story clear. The boys are rolling on the floor laughing at their work on the wall; the girl is angry – I don’t think somebody would like it if his or her door was laughed at (Fig.09)! For a long time I tried hard to show cute childlike emotions, always trying to express the characters’ emotions in such a way as to bring about a smile when looking at them.

I also changed a few features of the door’s “face”, to make it more emotional (Fig.10). I

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Centaur Stylised Challenge

thought that everything was okay at this stage,

her critiques. Rather than attending art school,

detail, removing focus from the main concept –

but Inessa’s professionalism rejected the

instead I used to draw on the walls in hallways

the door. And so, my supply of inspiration was

kids – they spoiled the composition and took

and on my neighbour’s door, making it look ugly.

exhausted and the work was finished. The final

the focus of attention, diffusing the story and

So if I hadn’t missed art school, I never would

dashes, under the guidance of Inessa, were

not expressing the idea of the cyclops door.

have painted this picture!

some changes in colour, light and shadows;

I figured I knew what to do: remove the kids

image sharpness was added using “high

(Fig.11). I felt it was a great pity though, but

On my part I tried to add more and more detail,

overpass” filters, and I put a duplicate layer set

then if I’d attended art school I would know

but Inessa remained tough, and I knew that I

to Overlay on top, in Photoshop. We decided

something more about composition, so I trusted

could easily spend all of my energy on extra

not to do too many details; we just created a draft dirty shade and light – some yellow, some green, some blue, some red. Then we added some dust into the air as the final touch (Fig.12).

The picture which you are looking at was born as a process of team-work, between a novice illustrator and a professional illustrator. And as a final note: don’t do this to your neighbour’s door!

Oleg Yurkov (Oritey), with Inesse Kiryanova For more work by this artist please visit: http://oritey.ru/ Or contact them at: oritey@gmail.com

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This series will take an in-depth look into the process of designing vehicles, beginning with the concept stage and following through to a final design. We will cover sketching approaches used to evolve and refine an initial idea, and show the techniques used to produce a number of drawings, exploring a variety of designs.

The tutorial will then move onto creating a finished design and placing the vehicle in a simple scene and addressing the issue of rendering the various materials that make up its construction. The importance of perspective will be explained before concluding with a chapter on adding design details Intro Text

and lighting effects.

Part 1 – Issue 038 Feb 2009 Part 2 – Issue 039 Mar 2009 Part 3 – Issue 040 Apr 2009 Part 4 – Issue 040 May 2009 Part 5 – Issue 040 Jun 2009

Part 4 - Final Design

Vehicle Painting Series

Created In: Photoshop

In my final part of this tutorial series we will get into colour and setting up a scene. I drew my car in perspective to understand the form and to give a general sense of what it looks like. Now I will move onto drawing it a more dynamic way.

I’m going to set it up in a scene as if it’s racing or parked in a garage. I want the car to look more real, so I will draw it from the perspective of having taken a picture of it through a camera (Fig.01). When you draw things more from the

top it can sometimes look like a toy, so I find drawing it at a lower angle is best, from a more of a realistic point of view.

So I take my rough line drawing and clean it up now. I then take my cleaned line sketch and place some quick guide lines for perspective (Fig.02). I lay out my perspective guidelines to line up the background and make sure it is sitting on the right ground plane.

I decide to place my car in the desert, as if it’s a Bonneville Salt Flats car. As you can see, I have refined the car a little more and modernised the body of it. So now I make my canvas fairly big, lay in some ground that looks like sand, and I add some mountains in the distance to provide some additional interest (Fig.03). As this piece is more about showing off the vehicle design and less about the scene, I really make sure that the vehicle is the centre piece for the scene.

I decide to really crop the picture in at this point to focus more on the vehicle. I add some sky tones, clouds and some texture details to the

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Issue 041 May 2009

Vehicle Painting Series Part 4 - Final Design ground. I try to keep this really quick because it is more about the vehicle and not the scene. I take the sketch and make it darker in tone so that I can see everything going on in the car (Fig.04). The blue just wasn’t helping anymore.

I remove the perspective guidelines now and start to work in some colour. I leave my sketch on one layer and start colouring under the sketch. As I define more of the car I will move on top of the sketch to pretty much eliminate the line drawing.

I decide to go with the green colour because it is kind of inspired by WWII aircrafts. I also start with a grey for the engine area, just to lay in some tone (Fig.05).

I start to define the cockpit area more here and put the horizon line and sky tones on the top (Fig.06).

One trick when you’re rending a vehicle in a scene is to match the colour of the ground with the tyres.

Just go slightly darker to define the difference between the object and material. It will look like it is part of the scene pretty quickly. It wouldn’t look right if I went in and made the tyres solid black against the sand colour. They would look too clean, as if the car has been dropped into the scene as opposed to having been driven there through all the dirt.

So here I start to lay down some other colours for the engine (Fig.07). It would look very dull and boring to make the whole thing metal. You can have various kinds of metal as well; shiny chrome, dull flat metal, brushed metal etc. So you can use that to break up the engine so it doesn’t look like one solid chunk of metal. I decide to make the top intake area shiny chrome, so I lay in some sky tones and ground planes (Fig.08). See the rendering material example in Fig.08a for a typical way to render chrome

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Part 4 - Final Design

Vehicle Painting Series

and other materials. I also keep adding to stuff into the environment. I do that because I am thinking of the composition and how best to incorporate the vehicle into the environment.

I add quite a bit to the engine area and break it up into different colours and materials to give it interest (Fig.09). I still use my engine references while rending the engine, just so I can see what details I need to have there to make it look believable (Fig.09a & Fig.09b). I modernise the engine a bit to push it out into the future. I also keep working on the body of the car to keep refining it. I put the lighter colour on the bottom because it is reflecting the colour of the sand up into the body. Then I make the top darker because it is reflecting the blues of the sky. (See Fig.08a again for explanation of rendering the paint.)

I am still focusing on the engine area of the car and adding details and small material break ups (Fig.10). I am also starting to show a process called “vignetting” (vin-yet-ing). This is when you make things fade out from the closest object to you.

As the front wheel and engine is the part of the car that is closest to me, I focus my detailing and colour saturation on those areas. Everything from there fades out. This really helps the eye flow over the vehicle and saves time when rendering. It also helps keep your vehicle from looking flat or “pasted” into the scene. You don’t need to render every single detail to get your point across!

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Vehicle Painting Series Part 4 - Final Design

At this stage I pull some photo scraps from one of my hot rod photos and place it onto my car (Fig.11a). I take an existing wheel and modify it as this saves time and also gives me a very precise and defined wheel instantly (Fig.11).

One thing on a vehicle that is very important is the wheels. If they are not very defined wheels, or not drawn correctly, it can quickly ruin a cool vehicle. I just take a wheel that is close to the perspective I need, and skew it into the right perspective using the Transform tools in Photoshop.

I finish up the detailing on the wheel and start adding a few more details to the car. I also add some smoke to the exhaust and some panelling details to the body (Fig.12).

The wheel in the back is taken from the same photo (see Fig.11a), but I use the back wheel of the car instead of the front. I don’t spend to much time on the back wheel because I want the front wheel to have most of the detail. I then add further detail to the back suspension to make it look more complete. I use a soft brush to go over the back wheel as well, to make it look dustier and to push the wheel back (Fig.13).

The car looks a little strange just sitting there on its own, and so I add a driver sitting on the

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Part 4 - Final Design

Vehicle Painting Series

rear wheel (Fig.14). Again, I’m still leaving the

I work on the driver a little more here, giving

logo you might see on a World War II aircraft. I

focus on the vehicle and I place the character in

him some type of vintage suit and goggles,

also lay down some dust over the driver so he

a position where he is not the main focal point.

almost as if he’s a fighter pilot that drives this

becomes part of the scene. I then adjust the

I also work on the far front wheel, adding just

car (Fig.15).

background a little and turn up the contrast a

enough detail to give some indication of parts

touch; I felt it was a little too muted (Fig.16).

and a possible brake system like a street bike.

I decide here to put a logo from my book,

The logo is skewed and placed on the side

Again, I’m not putting a lot of focus on that area

Masters of Chicken Scratch, on the side of the

of the vehicle. I also use the Warp tool in

– just enough to indicate that something is there.

vehicle. It has a kind of vintage feel, and is a

Photoshop to give it the curvature to match the body. I continue to add details to the body, like rivets, and refine the areas around the cockpit (Fig.17).

I add some more detail and contrast to the ground around the car here (Fig.18), just to lead the eye through the whole piece. I start adding a car in the background that is racing through the desert. When cars race out there they rarely race alone - they all have to have buddies. It also adds more action and interest to the piece.

I add some tyre tracks to the sand so it looks like the car has just rolled up and parked. This adds realism to the piece and makes sure that it

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Issue 041 May 2009

Vehicle Painting Series Part 4 - Final Design doesn’t feel like the car was just dropped there.

I then decide the shadow looks a little dead and I could add some colour in this area. When you have warm light from above, the shadow will be a cool colour, so I add some purple in there.

This is the final piece. I decide to crop it down a little more because I don’t need all that background. I like the long, narrow look when working on a car piece. Like I said before, it’s all about the vehicle and not so much about the background.

Rendering Material In the material rendering demo shown in Fig.08a, I show the similarities and differences

because the sky, horizon and ground all blend

Thanks for checking out my final tutorial chapter.

of each material. Chrome always reflects its

together, just giving enough indication of where

If you would like to see more work by me then

surrounding environment, just like a mirror. The

the sky, horizon and ground are. I also used

please visit: www.futureelements.net or www.

green shiny paint is similar to the chrome but

cylinders to render because most car shapes

hotrodartbook.com. Hoi Mun Tham will be back

it is using all green hues. Then if you render

are complicated cylinders. So you will have your

with the final chapter of this tutorial series in the

dull metal, the sky, horizon and ground all

sky tone on top, your horizon in the middle and

June issue.

blend a little. Just compare the shiny chrome

your ground tone below. Then you just take

to the dull metal. I’ve also done the tyre, or

your horizon and bend it around the curves and

rubber material. You can see that it’s not shiny

different surfaces of your automobile or vehicle.

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Thanks for reading!

Issue 041 May 2009

Dwayne Vance For more from this artist visit: http://www.futureelements.net Or contact: dwayne@futureelements.net

Welcome to the Speed Painting section of the magazine. This month we’ve asked two artists to produce a speed painting based on a simple, one-line brief. Here we feature the final paintings and the overview of the creation processes.

This month our talented artists, Nick Oroc and Dwayne Vance, tackle the topic:

The sleepy village never saw the horror approaching

Speed Painting

Nick Oroc Created In: Photoshop

Hello, I’m back again with another speed painting tutorial challenge, where this time, “The sleepy village never saw the horror approaching” is the subject matter to tackle.

My first thoughts on this subject were to take, yet again, a comical approach. From the get go I wanted a figure in the scene, although it contradicts the title a bit, but what the heck!

There must be at least one survivor to pass down the stories.

I call this piece “CLOVER SLUG!” inspired by the movie, Cloverfield. Again this kind of contradicts the title, but let’s just say that this is one fast moving giant alien slug! I off with a fast 20 minute sketch in pencil, which I then scan into Photoshop (Fig.01). mode, it allows me to see my under drawing

I continue to glaze my colours by blocking all

On top of this image I create a folder in the

while I lay down my base colours, before going

objects and characters in a fairly mid-dark value

Layers window and set it in Multiply mode. I add

into full opaque colouring. Think of it as colour

range. I personally find it easier starting off with

a new layer in it to create this painterly base

stained glass that allows you to glaze colours

darker values and slowly punching out details

texture (Fig.02). By setting this folder to Multiply

over your drawing without losing it (Fig.03).

as I increase in lighter values. This method can be applied to any scenery (i.e. outdoor lighting, indoor, an overcast day, etc.); it’s a matter of finding the right values to start off with. There really is no trick to it, except to make sure you don’t lose your line drawing. If you do go too dark in value, then you risk the chance of losing your line drawing. So take your time finding the right value that suits your scene. In this case, mid-dark cooler colours suit my night scene, complimented with warmer colours in the explosion (Fig.04 & Fig.05).

Once I’ve laid all my base colours, this is where the fun starts and I set myself in cruise control.

At this point it’s just a matter of colour-picking and increasing the colours in value as I start

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Speed Painting The sleepy village never saw the horror approaching punching out details. But make sure you don’t get too carried away by bringing out details in the whole scene. Do so by paying close attention to your focal point and adding details in the sweet spots. In this case I have two: Big Slugo who is being lit by the explosion of the building he’s crushed, and the man lit by a street light that he’s running towards (Fig.06).

At this point, after feeling comfortable with the lit scene, all the necessary details on the buildings,

and Slugo, I decide to introduce some explosion particles, smoke, and dense fog in the air to add some atmospheric depth. In a lit scenario like this I find it easier to add all my bright values first, such as the warm yellows, magentas and oranges, and then use a custom brush to quickly spray the scene with dark valued, abstract particles. At this distance one dark value will suffice, which creates a nice sense of contrast (Fig.07).

In this phase I’m basically heading towards home base and it’s just a matter of completing the frightened rocker character. I pay close attention to warm verses cool tones on his face. On the right side I bring out warm tones, complementing it with cooler tones on the left, created by the cool lit sky. I always try to avoid painting too monochromatically – unless an image calls for it. Think of painting in Yin Yang: cool complimented by warm. If your main light source is warm, then add a bit of cool on the opposite side of your subject matter, and vice versa (Fig.08).

Once I’d completed the illustration I realised things were a bit too dull – but nothing a simple

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Curves adjustment won’t solve! In this case I want to slightly saturate and warm up all my warm values without losing my blues. By using Curves and adjusting the red channel only, my blue values stay safe (Fig.09).

To complete this image as fast as I can, I simplify my brush set from my custom brush collection, as follows (Fig.10): 1 – I believe this one comes with Photoshop, but I might be wrong. I’ve lost track with all the brushes I’ve created over the years!

2 & 3 – Standard Photoshop brushes 4 – A simple rectangular brush, great for painting angular shapes, such as buildings, windows, etc.

5 – A custom fog/cloud brush I use religiously when it comes to foggy, cloudy effects 6 – Surprisingly, I didn’t use this brush, but if I did it would’ve been in the explosion for some added sparks. Oh well, maybe next time!

7 – This is my particle/shrapnel brush I used in the explosion. 3-4 strokes pretty much did the job!

Well, I hope you find this tutorial helpful because I had real fun doing it. This was supposed to be a three hour speed painting but ended being 3:20 minutes long. I hope 2DArtist Magazine doesn’t punish me for this – cheers!

Nick Oroc For more from this artist visit: http://www.nickorocart.com/ Or contact: nickoroc@gmail.com

The sleepy village never saw the horror approaching

Speed Painting

Nathaniel West Created in: Photoshop

For this exercise, I’ve chosen to do a relatively calm setting, and to have the horrific area be more of a second read. It’s a promise of impending doom to come, instead of doom that has already arrived. This sketch will be more about colours, values, and overall composition, rather than details. This allows me work out an idea that can then be reworked with additional details in order to make it a finished piece.

Step1 I first start by laying in a wash of colour onto the canvas. I want this background colour to act as my initial midtone, where I will develop both lights and darks from it. Any colour will do, but something orange or red is always popular, so I’ve gone with that option (Fig.01).

roof top shapes in the negative space of the

I then decide to add in a scribbling of a darker

sky colour. This doesn’t need to be exact at the

mass, which will end up being a fountain in the

moment, as I’m simply getting a feel for how I’m

centre of the village. For the water, I pick up

Next, I begin to lay in a lighter and cooler colour

going to organise my values into large shapes

some of the sky colour, which also helps to tie

for the sky. You can barely make out some

that are easy for the eye to read.

the upper and lower portions of the painting

Step 2

together nicely. At this point I’m already starting to get a feel for the composition and the overall lighting direction (Fig.02).

Step 3 Next I continue by working out the perspective of the scene, and I block in more defined shapes. I’m staying very loose and sketchy with things, as I don’t want to get too specific.

For contrast and visual interest, I decide to add a slightly green compliment to the palette to represent some lily pads in the fountain. This contrast will also help to make the fountain a focal point to the scene, and the horror part will be a secondary read for the viewer (Fig.03).

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Speed Painting The sleepy village never saw the horror approaching Step 4 I continue to refine the forms further, adding in a suggestion of figures holding up the fountain basin, and putting loose details on the buildings.

In the background I roughly indicate some sort of multi-headed serpent creature way off in the distance. I decided to help pull out the fountain from the buildings behind it by adding in a splash of red from the under painting. It helps to draw the eye towards that area once again.

A few more dots and dashes on the village buildings to suggest beams, awnings, and street decoration are some of the vital pieces of information I need in front of me, and I can now begin to detail and refine this piece (Fig.04).

Step 5 I’ve decided to make the scene appear cooler.

The image is too red and warm for my eye. I overlay some photos that have cooler palettes, which quickly changes the mood of the scene.

One of the photos has some remnants of snow in it, and so I decide to add some indications of snow throughout. I also lay in a photo of stones onto the ground in order to get the idea across in a timely manner without painting in every stone (Fig.05).

Step 6 I feel that the right side of the painting needs a bit more room, so I extend the canvas out a bit

and then detail out the building. The process I use for this area is to find a photo that inspires me, and then I lay it over the painting and adjust it to fit the perspective. I then paint over it to loosen it up a bit and to keep it sketchy. Once again, this process allows me to quickly get the idea across, rather than painting the whole building from scratch. I also continue to add in more traces of snow throughout (Fig.06).

Step 7 I repeat the same photo manipulation process with the buildings on the left, and then spend

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some time indicating the monster in the background and adding in some more detail to the buildings in the distance (Fig.07).

Step 8 Next, I focus my attention on the fountain, where I’ve decided to add in some icicles to break up the dark shape of the basin. At this point I feel the sketch is just about complete, so I wrap things up by adding a few more indications and highlights throughout the painting.

And we’re done (Fig.08)!

Nathaniel West For more from this artist visit: http://www.nathanielwest.net/ Or contact: nathaniel@nathanielwest.net

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“On one hand, the movie and gaming industries have digital pipelines in place that would lead one to conclude, perhaps, that it is simplest to have a purely paperless setup and production. On the other hand, there is something tactile and almost primeval about writing, drawing and reading from paper”

I - Planets and Star fields Part 1: Stars & Nebulas–- July 2008 Part 2: Barren Worlds - August 2008 Part 3: Barren Planets - September 2008 Part 4: Gaian Planets - October 2008 Part 5: Colonised Planets - November 2008

II - Transport Part 6: Spaceships - December 2008 Part 7: Capital Ships - January 2009 Part 8: Space Stations - February 2009

III - Environments Part 9: Sci-fi Hangar - March 2009 Part 10: Space Battle - April 2009 Part 11: Mining the Asteroid Fields - May 2009 Part 12: Space Colonies - June 2009

Environments: Part 11: Mining the Asteroid Fields

Space Painting

Created Using Traditional Tools: Pilot G-Tec C4 0.4, 0.25; Letraset Pantone: Cool grey 1, 3, 5, 7; Letraset Promarkers: Ice grey 1, 2, 3, 4; Copic layout markers: 1, 3, 5, 7; Copic wide markers: 3, 7; Prismacolor markers: cool grey 30%, 50%, 70%; Letraset bleed proof marker pad A4; Xerox - 100g/m squared A4 Colotech +

Digital Tools:

unlimited vastness of unexplored space, this

use of traditional versus digital methods of

Adobe Photoshop

represents the new Wild Wild West; living life on

communication. On one hand, the movie and

Introduction

the space frontier.

gaming industries have digital pipelines in place

We have finally reached the penultimate chapter

Let us look at our future brethren and imagine

it is simplest to have a purely paperless setup

in our year-long space painting series. We have

what everyday life could be, such as the mining

and production. On the other hand, there is

traversed various methods of contemporary

of an asteroid field. And using that backdrop,

something tactile and almost primeval about

and futuristic space habitation, looked at the

discuss the issue of asset generation, i.e.

writing, drawing and reading from paper.

construction of space vessels, and even had an

the behind the scenes methodology of idea

in-depth view of the chaos of a space battle. In

generation and the production of set designs

Indeed, one could argue that the preparatory

this chapter, let’s examine the aspects of a more

that could be applied on a movie set/virtual 3D

aspects of initial ideas and pre-production lends

civilian nature.

effects/game environment.

itself well to the more traditionalist methods of

Overview: Vision of the Everyday Future

I: Imagining the Mundane

creation. One could brainstorm and generate a

In this penultimate chapter, my thoughts are to

from the crudest gesticulation to an intricately

Let’s imagine a few hundred years from now,

steer us perhaps on a more retro science fiction

rendered mothball. There is something to be

when mankind will have achieved the collective

route. This means exploring good old science

said about the use of paper...

willpower and growth to band together in the

fiction shapes; chunky and bold facets/planes

universal spirit of exploration, and start down

mixed with extrusions of semi exposed pipes,

One could hypothesise that one day there will

the journey of travelling to the nearby stars.

cabling and gold foil. Translated into game/

be advanced facsimile methods of recreating

Throughout the everyday life of this seemingly

movie speak: the visual direction is retro sci-fi,

digital alternatives to traditional tools, that a

with hints of Space: 1999 and flairs of Syd Mead

paper alternative could be recreated using

and Joe Johnston (Fig.01).

clever nanites (armies of nanobots) and

that would lead one to conclude, perhaps, that

whole universe on the back of a paper napkin,

augmented reality (virtual reality imaging onto

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Paper Pixels

portable personal optical devices) applications.

Coincidentally, this genre lends itself well

Indeed, humankind could advance so far as to

to more conservative tools, such as the

one day look back and perceive the use and

Renaissance PDA (i.e. pen/pencil/markers/

application of paper as a rare commodity or

ink washes and a sketchpad). This brings

antiquity, and yet ... there is something alluring

to the fore a current battle, if you will, about

about reading a book anywhere, everywhere,

the transition and argument for/against the

with batteries not included.

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Space Painting Environments: Part 11: Mining the Asteroid Fields Retro Reconstruct There is a saying, “Courses for horses”, or “There are no rules. Only tools”, as Glen Vilppu is one to say. In my mind, I tend to amalgamate it all as “Tools for fools”.

Without quite getting into the debate of which digital software or best broomstick to use for such space art materials, I can only highly recommend the right tool for the right job.

Sometimes this means learning new techniques, applying different media or a cross application of tools, and sometimes it’s applying yourself using the best skills that you currently have at your disposal to get the job done. It does not need to be the best sliced wedding cake in the universe,

ranges: originally Letraset Pantone (featured

Asia, the chances are your local markers are:

or even an impeccably baked tart with a crispy

three different nibs and refillable inks, now

Prismacolor markers (predominantly) or the

underside that is neither too hard like concrete

obsolete), and subsequently evolved into the

Letraset markers. If you are located in Central

or soggy overall. More importantly, it is about

novice/beginner range; Promarkers (cheap,

Europe and Japan, your local markers will be:

knowing your limitations and ability to deliver for

cheerful and great) and the Tria marker

Letraset (predominantly) and Copic markers.

the job at hand.

range (expensive, require refill cartridges, and fall apart ... all the time)

Space Biomes: Marker vs. Marker Test

And thus, we arrive back at tools. Retro tools,

• Copic Marker – Japanese standard flag

When comparing the leading markers against

namely the pen, paper and the ink wash. I love

bearer; comes in normal size (Copic Layout:

one another:

still being able to wield the pen and paper when

fat nib/thin nib), wide size (Copic Wide:

it comes to sketching down a draft idea. The

singular fat nib) or Copic Ciao (beginner

comparable cool grey sets

pen is such an unforgiving medium in normal

range: fat nib/brush nib)

• Letraset – the old pantone series is

circumstances (impossible for producing clean

• Prismacolor Markers – great dual nib

comparable to Copic toner greys, and are

character faces and features without a deft,

marker range, only available from the US (or

warmer overall

experienced hand); however, if harnessed

on export), affordable and features a great

• Letraset Promarkers – the hidden

appropriately, provides benefits primarily being:

set of cool greys

champion of the series; aimed at beginners, it is affordable and works very well. No refill,

• They are permanent (and fast staining) • They apply well with alcohol-based markers

• Prismacolors and Copic – feature

Pen

however. For a comparable grey value to the

• Pilot G-Tec C4 Pen – ranges from

Prismacolors/Copics, use the ice grey range

Retro Tools

0.4 (0.2mm) down to 0.25 (0.1mm) and

The objective here is to introduce traditional

provides some of the best fine tips for use

Let’s test these markers out by designing a set

tools, marker types and uses. With reference

in illustration. The colours favoured for

of retro sci-fi biomes modules. These would

to Fig.02, there are a range of weapons for the

traditional sketching or illustration are black

realistically represent horticultural living spaces

retro minded, starting from the left to right:

and brown

to grow trees, plants, and life within space. A great example of such an enclosure is embodied

Water Based Markers • Uni POSCA – water based poster markers;

Paper (What is not apparent is the type of

by the Eden Project (Cornwall, UK), or the large

work well on porous surfaces such as wood,

papers used, which are namely):

enclosures such as Kew Gardens, London.

cork and polystyrene

• Marker proof paper e.g. Letraset • Colour copier paper e.g. Xerox Colotech+

the effect of using Copics vs. Letrasets cool

Alcohol Based Markers • Letraset Markers – there are three

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In a direct comparison (Fig.03) we can view

If you are located in the US, Canada and

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greys. Notice how warm the Letraset default

Issue 041 May 2009

Environments: Part 11: Mining the Asteroid Fields

Space Painting

cool greys are in comparison to the Copics. With various experiments, we have found that these Letraset greys are equivalent to the Copic toner grey range. In addition, using marker paper (A4 Letraset) combined with markers provides a richer range of values, and soaks up less marker than conventional A4 paper. However, it also tends to leave semi-opaque residues and brings out a sharp contrast in the inks on the markers (especially if one were heavy handed).

The solution to this is to upgrade to modern technology. Colour copier paper, designed

hero transport (instead of characters) as the

enough to withstand the rigours of outer space,

for colour laser jets/ink has a much smoother

aspect of mining and coring asteroids will be

barring planetary re-entry.

surface and retains marker ink brilliantly. Our

akin to using deep sea submersibles for work

next image sequence features the cheaper

underwater, except in this instance we have the

Constructing a Base of Operations

Letraset ice grey markers, but note how much

harsh temperature and pressure extremes of

The objective here is to construct a deep

more brilliantly the grey values and ink lines are

space.

space base/way station using industrial design principles. The initial construction of a base will

retained…

II: Living Amongst Asteroids

Interplanetary/intergalactic space is a dangerous

require consideration of the following:

environment filled primarily with gas, dust,

Main Base (as seen in Fig.01)

cosmic rays, small meteors, and (non-perfect)

• Basic housing

The next aspect is to visualise a future life

natural vacuum, matter, dark matter, EM

• Life support system

amongst asteroids. What very few people know

radiation, and so forth. As such, even with

• Power generation

is that asteroids are an amazing resource of raw

futuristic protection suits, advancement would

• Propulsion

materials, rare metals and water. Therefore they

probably not be able to account for the random

• Resource storage

are an ideal place for mining, exploration and a

small meteorite or debris that may escape local

• Analysis and utilisation

way station to the stars.

tracking sensors and devices, and may be akin

• All purpose tool shed

to a high velocity projectile tearing through one’s The second part of this workshop concentrates

deep space protection suit. It would be far better

Once a purpose-built base is installed/hauled

on two aspects: firstly the construction of a base

to navigate space within a personal deep space

into position, these bases should be adequately

of operations, and secondly, based around

environmental vehicle, that is small enough

self sufficient to harvest and manufacture their

developing a mining rig, or in this instance a

to manoeuvre in confined spaces, but robust

own equipment from local resources. As such, the base would require: • Prefabrication and manufacturing module • Manufacturing – transport, tools, robotics, nanobots, gene sequencer, wiring, and various modules according to local blueprints • Biomes – local growth and sustainability of local food and produce, generation, purification and entrapment of beneficial gasses, primarily components of air (oxygen, nitrogen +/- carbon dioxide) • Transport hangar module – storage, repair and launch of local mining rigs and protective deterrents

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Space Painting Environments: Part 11: Mining the Asteroid Fields • Weapons and defence module • Advanced life support systems • Energy storage and generators – including advanced solar panels, mirrors and local propulsive/non-propulsive reactors

Asteroid Shell – Prototype Base To produce a preliminary base, let’s explore this as a marker design using colour copier paper and Letraset ice grey markers (affordable enough to use once). The main premise of this design features: base, hangar, a set of

human consumption), and can be used as a

asteroid that is being hollowed out and fit for

cylindrical biomes and connectors

nice alternative if you don’t have any blender

purpose. The beauty of using a large enough

• Add Details – Pen in your designs, apply

solution at hand. Essentially, the marker blender

asteroid to manufacture and install a base in is

thicker line-weight in areas of ambient

releases ethanol that allows a lighter stain of

the ability to use it as a natural shield against

occlusion (shadows)

marker to be released, and thus may be nice to

sketch is a prototype base attached to a large

use if one wants to produce a gradual effect or

the elements.

Asteroid Shell – Advanced Use

blend smoothly between two tones, e.g. 30%

In the 1960s, Roy Scarfo and Dandridge Cole

The next aspect is to expand this base to

and 50% grey.

conceived the use of a hollowed out asteroid

provide a full set of operations (Fig.05).

as an asteroid shell. Using a nuke melter or

Using the same three-point method, this is an

Mining as a Resource

plasma cutter, you could hollow out a base of

opportunity to refine the overall design.

In the future, the ability to harness asteroids

operations that could be fitted with an inflatable

will be a key step in humankind’s expansion

liner and some airlocks to recreate living and

Utilising the initial vision detailed in the sketch

and deep thrust into the nearby galaxies. As

breathable environments. The initial issue is

in Fig.01, let’s expand the base to incorporate a

previously mentioned, asteroids are abundantly

the fallout of radiation from nuclear based tools,

full complement of modules: base, life support,

available resources full of massive amounts of

and the interiors leftover would appear glossy

biomes, alternative power supply, manufacturing

useful metals and minerals, including carbon,

and smooth. A surface depth of 3-4 metres is

and transport hangar, multiple docking ports ...

iron, nickel, platinum band metals, and gold.

sufficient to eliminate most (90%) of cosmic

the list is endless.

In addition, they contain considerable water that can be used for a variety of purposes:

rays and thus is a sustainable and long standing option for the future. For now, the global and

Alternatively, you may approach the design of

human consumption, energy and propulsion

economic financial issues to investigate and

an environmental set piece as follows:

systems. And therefore, as mentioned earlier,

manufacture such technology for asteroids is

• Layout

it is essential to develop robust deep space

perhaps a non-option, but nevertheless the

• Tones

exploratory vehicles for which to explore, mine,

ability to do so is not too farfetched a thought.

• Details

harvest and retrieve. (For further information about asteroids as a resource, you may like to

Only the means of doing so in a repetitive and sustainable manner are the remaining obstacles

Such a method requires rapid use of markers

check out this resource: Space Resources by

preventing humankind from living a space life.

over a 15-20 minute period because markers

John and Ruth Lewis, from Columbia Press.)

dry a lighter tone than when wet; due to the Using a simple three-step approach, we can

alcohol base the ink will evaporate to stain into

For this tutorial, we are suddenly taking a turn

build the base as follows (Fig.04):

its set form. To provide a smooth transition you

towards prop set design from markers to digital

• Initial layout – Plot perspective lines and

may utilise blender solutions, which are varying

and rapid colour pass for use in production.

layout; try not to apply much tone in this

degrees of almost medical grade ethanol. 70%

step, it is primarily to apply proportions and

proof ethanol is normally used in hand gels for

Vernier Mining Rig

serve as a guide

sanitation, and ethanol procured in the local

The objective here is to explore traditional

• Block In forms – Lathe in your general

pharmacy is almost 99% proof ethanol (not for

marker and digital design using industrial design

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Environments: Part 11: Mining the Asteroid Fields

Space Painting

principles. For the design of a Deep Space Exploratory Vehicle (DSEV) - Vernier Rig – I want to explore a “sexy brick”, in essence.

The design concept is to make a functional and retro looking transport and upgrade it with all the modern industrial design common sensibilities.

The initial draft (Fig.06) is fairly rectangular, oblong and squat; perfectly ugly but functional.

Tiny manoeuvring thrusters are slotted all around to provide maximum manoeuvrability for its purposes; however, it is hard to gauge how such a vehicle would appear from other angles.

In addition, a smaller DS-ROV (Deep Space Mini Remote Operated Vehicle) is also sketched out, in case the eventuality requires a smaller craft to explore and retrieve core rock samples (Fig.07). It was initially designed as the core DSEV rig; however, on various iterations its profile and mechanics fit a smaller scaled device, such as a ROV of current day standards.

Building the Vernier The Vernier is explored next from a different profile angle. Upon its second iteration, the squat rectangular shape is retained; however further additional elements are added, such as modular cargo side pods, ventral and dorsal airlocks and a large gold reflective bubble cockpit situated right at the front.

In Fig.08, the methodology is simplified into a three stage process and finished with further details and tightening. Hopefully, it is relatively straightforward and self explanatory, but just as a recap: • Initial Draft – The silhouette is drafted; if the overall form reads well, it will read at a large or small scale • Key Design Features – The trio of semi rectangular side-cargo pods are the distinguishing feature of the Vernier, and help break up the overall squat form • Tone & Value – Shadows and tones according to its relative planes are applied • Details & Contrast – I liken this to

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Space Painting Environments: Part 11: Mining the Asteroid Fields

tightening the screws; tiny details, design

techniques to accomplish different levels of

components together and applying subtle drop

features and vents are applied

finish and decide on the method that suits you

shadows, and multiplication to produce a faux

best. Tools for fools, remember!

3D effect.

Digital Marker Technique – Selection Hell!

In Fig.09, the upper facets are selected and an event gradient is applied to all planes facing

Some hours later...

The next aspect is to explore using more digital

the light. Next up is the production of the more

tools – namely the production of a digital marker

complicated but repeatable cargo side pods

All the major facets have been plotted, selected

concept. The essential secret (if there are

(Fig.10). Because it is a complicated shape, this

and the respective Gradient Fill applied. The

secrets) to this technique is an initial clean line

segment alone took a good hour to lathe, plan,

design looks respectable (Fig.11) and multiple

draftsmanship, followed by selections. Multiple,

plot, tone, and value. Once it was completed,

key design features have been added to the

multiple and multiple selections and gradients

however, it was a matter of grouping its various

whole space transport. Unfortunately, there

– that is the byword of industrial card design. In addition, for every edge there should be a bevel, a line, an ambient occlusion (shadow) and a highlight. This ultimately translates to: pain!

In theory and practice, one could optimise the process quite easily via a system of recorded actions, to produce selectable objects and selections at a single touch of a button.

However, for the purposes of this workshop, only the Lasso, Fill Gradient and Airbrush are utilised for the entire process.

For this process we want to essentially break the original design (see Fig.08) down into key facets. There are primarily three key faces and two angled planes. So, armed with the Polygonal Lasso tool, let’s rapidly take you through the process (minus the pain). From start to finish, this process of selections took a good ten hours of fudging – non-stop. In comparison, painting it digitally took two hours!

However, it is the type of finish and effect that is desired which is important, and thus it is vital to at least appreciate how to use various

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Environments: Part 11: Mining the Asteroid Fields

Space Painting

is nothing mysterious or special about this process, just mindless selections and gradient fills for each facet or curve. And the generation of a bevel, shadow and appropriate highlight.

Lastly is the generation of a simple cast shadow (Fig.12), which involves plotting the way forms interact with the directional light source. Using the Line tool it is relatively straightforward to cast a direct shadow. In this instance, we use a top-down direction to plot the cast shadow. Cast shadows are effective in providing readability and three-dimensionality of any drawn twodimensional object.

Digital Marker Technique – Painting it simply!

For the simpler option of painting the vehicle, an understanding of form will help immensely in the rendition of the various facets and

surfaces. For this methodology, I would highly

• Detail in – using a finer brush, add all the

recommend painting still life objects (from your

focal details and subtle bounced light you

local surroundings). You will be amazed at how

think may be inherent

rapidly and powerfully you can apply these studies and knowledge to your digital/traditional

Colour Pass

painting. Alternatively, you may choose to use

This process is very straightforward. Honestly, if

3D software or traditional sculpting of figures

the values are relatively narrow, the transition to

and objects to understand forms better (Fig.13).

colour can be quite rapid and mocked up. Total time spent here was 20 minutes.

Again, we utilise a simple three-step process towards this that I can summarise as (Fig.14):

Now, firstly you have to understand that there

• Block in – block out a relative form using

is a natural frustration when adding colour

the broadest brushes possible (on a new

to a greyscale image. In an environment, it

layer) and do not worry about details or

may appear almost impossible or at odds.

being tight

However, for a transport of character, a flattish

• Sculpt out – much like trimming away

or nondescript background is often sufficient

excess clay, mould your transport into a

towards producing a relatively pleasing effect.

more defined shape

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Space Painting Environments: Part 11: Mining the Asteroid Fields In our process, shown in Fig.15, we start by colouring our stripes first (utilise the Colour layer option). Stripes are important as they help lead towards seeing a three-dimensional form. Next we apply a base colour. For space transports a creamy white base is an excellent starting point. This is primarily because cream white is a great way to pick up local ambient colour. For example, a white alabaster marble cast sphere placed above ground under a blue sky will have bluish hues above, and warmish bounced light below.

Once you have established a weak – almost anaemic – base colour, you should subtly add saturated colours and colour your background.

The secret to making a greyscale image work, or a greyscale object work, is its surrounding colour. In this instance, we apply a saturated orange background, and this seats the whole image together. It is appropriate at this stage to flatten the whole image and tighten up over the image with a brief lick of paint to unify both object and background together (Fig.16).

III: Shaping a Future Now that we have all our separate props built, we can cast them much like actors on a stage.

In this instance a stage filled with asteroids rich with resources for harvesting, and a way station for humanity in the depths of space.

Stepping Stones The objective here is to move from retro to digital. We bring it all together as an illustration/ production set design. Now that we have taken the effort to produce the various components, the next step is to see how it stands up within an illustration or a virtual set. Before that though,

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Environments: Part 11: Mining the Asteroid Fields

Space Painting

let’s take a small detour and discuss colour palettes and value ranges (Fig.17).

In the colour palette (see Fig 17), there are three ranges shown. These cover warm, cold and saturated. Upon analysis of most retro paintings or master paintings, a narrow palette of colour tends to be used, such as Palette 2 or Palette 1.5 in Fig.17. Whereas in contrast, the more stylistic or illustrative images depicted in the mid 1950s and 1960s tend to have more vibrant, saturated range of colours.

Notice on the far left there are approximate values of these colours in greyscale, which amount to either a wider range of values (saturated palette) or a narrow range of values (cool/warm palette shown above). For our purposes, we will use the selected range of cool colour palettes for the final aspect of this

In this instance, let’s opt for a narrow green blue

cored large asteroid. Lastly, we can bring these

workshop.

colour palette and simply start the process by

abstract shapes into a more solid form, which I

blocking in a monochromic swirl of gas clouds.

term “solidfication”. This allows you to determine

Next is the important task of blending in the

the contrast between hard surfaces and various

various strokes to produce subtle midtones.

objects.

Illustrating an Asteroid Base within an Asteroid Belt In this illustration, we will consciously not have

Ensure you don’t blend too much to allow for

any luminous star nearby. Instead, we will

some of the original marks to show through, as

In terms of composition, I felt it important to

use various bands of nebula cores and spiral

these will help produce happy accidents and

provide a sense of floating in deep space, and

galaxies to offset and provide lighting for the

abstract shapes.

decided to invert and place upside down the top

mining base (Fig.18). I find it useful to lock the

aspect of the base – and perhaps have various

colour palette off in a small corner to the top

Subsequently, we rough in the approximate

right, and move it about as needed.

shape of the mining base, attached to a partially

mining rigs docking and leaving the base.

Asteroid Field Next is the plotting of an asteroid and debris field (Fig.19). I imagine that the area surrounding the large asteroid shell would be more devoid of asteroids and have been harvested to produce more harvester rigs and base modules. Keep in mind that various asteroids will come in all shapes, orientations and sizes. However, it does stand to reason that the further away they are, the smaller they may appear.

So using a semi circular design, the various asteroids are plotted in by hand by their multitudes and are repeated via various processes of multiplication until we have the

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Space Painting Environments: Part 11: Mining the Asteroid Fields

impression that of floating in a field of rocks and debris. Much like flotsam and jetsam at sea. Do ensure that the facets facing the primary light source are lit, and those facing away retain their base tone. To provide a really volumetric feel, you can later plot multiple cast shadows to good effect. Just ensure not to go overboard!

Props in an Asteroid Field Thankfully, we have spent sufficient effort and time in generating a well designed DSEV rig for use in deep space, and these can be inserted into the scene relatively easily (Fig.20).

For a close up view of how such integration can be used, let’s look at Fig.21. The carefully selected vehicle is inserted twice: one set on Luminosity (this allows the rig to attain a

homogenised colour with the backdrop), and the

Overlay/Multiply onto the illustration. In contrast,

second set to Multiply (with opacity adjusted)

however, I have chosen to merely Overlay the

in order to ensure that not too many details are

initial layout sketch, which is far cleaner and

shown, in comparison with the overall image.

devoid of the finer details that won’t be apparent to the viewer at such a distance anyway. The

To keep the whole illustration tidy, I have

advantage of this is twofold:

structured the various layers into three simple

• The detailed worked-up model allows the

groups (Fig.22):

visual database to selectively add any key

• Palette

features without obscuration, and allows you

• Group 1 – Transport

to paint facets without getting bogged down

• Group 2 – Asteroid Field

with the lovely details

• Group 3 – Asteroid Mining Base

• A clean layout allows one to paint in merely

• Background

facets and therefore simulate/replicate the feeling of how it may appear in space, but

The next aspect is to block in all the highlights

actually only provide simplified key data

and shadows of the lit and under lit surfaces

using various tones/values to denote a facet/

of the base (Fig.23). As long as you keep

plane respectively

within the established palette, this should be a

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relatively rapid affair. In this instance, you may

Post-Processing

choose to put your fully designed station set on

The final aspects of any illustration are to add

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Issue 041 May 2009

some focal details, slight colour adjustments, glows, and final rechecks to ensure the composition and subject matter will appeal to and draw in the viewer (Fig.24). More importantly, please check that you have started and converted your image to a larger pixel resolution, as there is nothing more disheartening than having spent all that time painting and establishing a brilliant painting only to realise you have painted an image that, when printed, is only visibly clear on a pinhead.

Conclusion Thank you for joining us on our far flung space quest from the outer reaches of other worlds, and the regions of the nearby planets in the solar system. We have discussed the more commonalities of exploration of outer space, living in intergalactic space, and extrapolated as far as the establishment of colonies and realms of mankind within the far distant future. In addition, I hope I have been able to provide and share useful production workflows and solutions as a modern day artist, that are versatile in any media, steeped in the foundations of traditional truisms, basics of art, and applicable within the modern and traditional media.

What may or may not have been apparent was that in this workshop, we have integrated multiple processes of production set design and prop design, and tied it all together to produce an illustration or mood piece for production.

It is surely a more laborious process but the end result hopefully speaks for itself as a solid, coherent design illustration.

In our final chapter, we are going to re-examine mankind on their quest for the stars by imagining them adrift on countless star ships and establishing far flung colonies across space.

We will draw upon the spirit of various space visionaries and come full circle in mankind’s continued quest to explore, seek new life and discover the mysteries of the universe. See you next month!

Dr Chee Ming Wong For more from this artist visit: http://www.opusartz.com Or contact: info@opusartz.com

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Different Means to one End

Anatomy of a Painting

Created In: Photoshop

Introduction Painting Noun 1. The process, art, or occupation of coating surfaces with paint for a utilitarian or artistic effect 2. A picture or design in paint This is the dictionary definition of the word “painting”, and it is generally what we think of when we hear that something was painted. We rarely think about the process of how a painting was made, other than applying liquid pigments to canvas or, in this day and age, coloured pixels to a digital surface. As an artist, though, we probably do sit and think over something we see, wonder how another artist achieved a certain effect, how the picture was built up, and more importantly for this little article, if they used anything to help them achieve what they achieved.

Let’s look at some of the Old Masters for a moment, just to see what they did and how they did it. Da Vinci and Michelangelo’s sculptures and paintings of (often half-naked) figures are probably the best known in the world, and revered for their realism. Both dissected bodies to help them observe how the human body worked and looked. It is speculated that Vermeer used the camera obscura to help him copy his subjects and scenes with astounding accuracy, and Rembrandt used the grid to assist him in creating proper depth and proportions in his works. And it was, and still is, okay. Nobody questions their skill or talent. Their works inspire millions of people to try their hand at painting, and millions more to truly admire the art of it.

With this in mind, let’s take a look at today.

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Anatomy of a Painting Different Means to one End In the digital age we live in, we have so many means of creating an image, from photography to vector and 3D, that we should have no problem using everything at our disposal to help us do just that. I am sure that if the Old Masters had had the technology at hand that we now have, they would have used it to their full advantage.

Therefore in this workshop, we will be looking at a painting, dissecting it (in a manner of speaking) and looking at the different ways in which certain aspects of the piece are achieved (Fig.00). This is not so much a step-by-step painting tutorial as it is a look at the many possible means to an end. Even though the example picture is a painting, certain aspects of this article will go into non-painting territories, and therefore will cover what we call matte painting and photo manipulation as well – these will be pointed out to cancel out any confusion or misconceptions.

Bit by Bit The Figure (Fig.01) I used a reference photo of my husband to help me sketch the pose, and also the rough structure of the clothing (Fig.01a). As you can see, the character had a sword at first, too, for which I had used my own sword as a reference and then adapted it to make it look as I wanted it to … roughly anyway. At a later stage of the painting process it was decided the sword wasn’t needed, so it got deleted. The face was sketched freehand. In fact, it was the face of a completely different painting that I never finished, but I liked it too much to leave it hidden in the depths of my hard drive, and so I copied

falls and flows through studying it at any given

If you are not that keen on painting people,

the original sketch of it onto my new canvas.

opportunity, it is easy to adapt the clothes worn

you could always use a photo directly in your

in a reference or change them completely.

painting, and manipulate it enough to make it blend nicely with it, or paint over it. If the figure

Even when using a reference, it is not necessary to stick to it too closely. I strongly advise having

It is not necessary to do a line sketch as I have

is the focal point of that piece, this would usually

some knowledge of anatomy, as it gives you

done here (see Fig.01a), as a sketch or general

be classed as a photo manipulation no matter

the freedom to adjust things to your liking, and

composition can also be done by starting

how much you add by painting. Also, if you want

understand why something looks the way it

directly with colours and blocking everything in

to design your own character, this option doesn’t

looks from a particular angle. The same goes

to get the basic structure (including light and

give you quite as much freedom as painting

for clothing; once you understand how fabric

shadow) right before actually starting to paint.

would.

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Different Means to one End

Anatomy of a Painting

Taking a hint from the traditional side of painting, tracing the outlines of a photo is another option to help speed up your sketching progress - but again, it’s still useful to know about anatomy when doing this. And as much as tracing seems to be looked down upon, it is useful when you are not that good at anatomy yet, but need to work fast. I’ve said this before, and will say it again: a perfectly traced reference photo will not guarantee a perfectly painted picture.

Sticking with photos for a minute, you can also use several different pictures to build a reference for your character via photo manipulation, or simply use different images to give you an idea for certain elements of your character without copying them directly.

But photos are not the only help you can get.

You could use a live model to sketch from, though this is often rather hard to get, unless you bribe your friends into sitting for you, or have a group of models flocking to you anyway.

You could use a painter’s mannequin (those small wooden figures that you can buy in any art shop) as a guide for the pose, proportions and perspective. These dolls, however, will only give you a vague idea of how things should look, as

which you can translate into your brushstrokes

when you want it to be really detailed and

they aren’t all that detailed and also not quite as

to add instant volume to the body parts and

realistic. There is no way around this. Repeat

supple as the human body. Mirror referencing

face.

patterns are by far the easiest, as you only need to paint one section of it, and then duplicate it

works too, though it is quite tough, as you have to pose in front of the mirror while painting. This

Of course, you can do it all freehand – meaning

again and again until you have filled the area

kind of self-referencing works best when you

no use of references whatsoever – but I don’t

you want to fill.

just need to reference hands or feet.

think I need to really elaborate that point, as it goes without saying.

Another way of making a pattern is by using the Shape tool. You can get free shapes online to

And then there is 3D. You can render your model in a 3D programme – either roughly, or

The Embroidery (Fig.02)

add to your shape library. Combining several

in a lot of detail, depending on what you need

Both pieces of embroidery – on the vest and

shapes results in some beautifully intricate

or prefer, making sure to spend a good amount

coat – are hand painted. For the one on the

patterns, and with the right amount of post-work,

of time on fixing anatomical problems that most

coat, I used the stencilled pattern from my own

these look great in a painting.

default 3D figures seem to suffer from (or don’t,

winter coat as reference, and for the one on

and fix those problems when you paint) – and

the vest, I had a photo of brocade fabric as

If you’re accustomed to the Pen tool, you can

use it as a reference to sketch what you want.

reference because I loved it so much.

of course make some vector patterns yourself.

Both these and the shapes work best for printed

Also, looking at the polygonal mesh of a 3D figure is great for getting an idea of how and

It is very tedious and time-consuming to paint

patterns or brocade, unless you spend some

in which direction the “lines” of a figure curve,

embroidery, lace or brocade by hand, especially

time getting a stitch pattern into them, in which

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Issue 041 May 2009

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Anatomy of a Painting Different Means to one End case you may as well want to paint them.

adjusting the flow of it according to the fabric

If your painting is rather large, and the area

Yet another way of adding embroidery, lace or

folds with the Liquify Filter.

you need to warp is quite small, you may want to select the area with the Lasso tool before

brocade to your work is using photos, or photo brushes. There are many royalty free photos

This really is easy: quite obviously, you need to

opening the Liquify Filter, as this will save some

of lace, embroidery and brocade online, or

open the Liquify Filter for it. Depending on the

loading time.

you could take some yourself – maybe you or

size of your image, it may take a little while to

someone you know has some clothes or items

load it. Once it has, choose the Forward Warp

The Archways & Flagstones (Fig.03)

with some good patterns on it! Once you have

tool, and adjust your brush size to what works

These were painted freehand, but with the help

your photos, you can put them directly onto your

best for your pattern – the best thing really is to

of some rough perspective guides – and if you

painting and adjust them so they blend with

change the size according the folds’ size that

have a keen eye, you’ll spot where I screwed

your work, or make a brush from the photos and

you have to warp the pattern into, as this will

up!

simply stamp the pattern onto your painting. The

give you a smoother result. Also play around

latter is the more versatile option, as it allows

with the Brush Pressure and Density until you

Perspective can be quite a pain, but if you use

you to easily change the colours of your

find a setting that suits you, and tick the little

a grid, however rough or refined, it can make

pattern without affecting the areas surrounding

box next to Stylus Pressure. Then further down,

things a lot easier. I will not explain how to go

it.

tick the box next to Show Backdrop. In the

about drawing a perspective grid, as it would

dropdown menus next to that, choose All Layers

easily be an article all onto itself and there

Something to remember with this is that your

and Behind for the Mode. Change the Opacity

are numerous helpful tutorials and websites

pattern needs to follow the folds of the fabric

to something between 80 and 40, so you can

out there that explain it so much better than I

you’re putting it on. A good way to achieve this

see what you’re doing but still see the original

ever could. Honestly! And I believe the newer

when you are not painting it directly onto your

pattern through it. And then you just push and

versions of Photoshop have a Perspective Grid

work is by first using the Free Transform option

pull your pattern according to the flow of the

function anyway, so that would make matters a

(Perspective, Skew and Distort) to get it into

fabric. You can zoom in and out by clicking the

lot easier for those of you who have it.

the right perspective and position, and then

small + and – buttons at the bottom left.

Again, you can use photo references to make your life a lot easier. Tracing works too, to get the general perspective and shape of your architecture down.

You can also model archways or pillars in a 3D programme, import them and use them as they are, as references, to trace or to paint over.

The Stone Texture (Fig.04) This was made using several different custommade photographic texture brushes.

You can of course paint it by hand, but sometimes it just takes too long.

Using photographic or painted texture brushes works a treat, and achieves just the right look.

You will still have to adjust and manipulate the textures to make them blend into your painting, but it is so much less time-consuming than the first option.

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Different Means to one End Adding these textures in different colours and on

With it being in the background, remember to

separate Layers, and adjusting the Opacity and

keep it slightly out of focus, more so the further

changing their Settings is great, because it really

back it goes. The colours, too, get lighter the

adds some depth to the stones.

further they approach the horizon. This adds

Anatomy of a Painting

depth to your work.

When using texture brushes, you may have to adjust the perspective of the texture to match

Little Details and Textures (Fig.06)

the perspective of the surface it’s supposed to

The doves flying off in the background were

be on or in. You can easily do that with the Free

painted freehand after looking at a few photos

Transform tool, using Perspective, Rotate, Skew

of birds in flight, though without using any direct

and Distort.

references.

The City (Fig.05)

The overall texture was achieved with yet

This is actually not painted at all, but is a photo

another photographic texture brush, and a

I took in Rome several years ago (Fig.05a),

texture photo.

retouched to remove modern objects like satellite dishes, with the Median Filter applied

Once more, things like birds, any other animals

to it and roughly painted over in some parts.

or people in the background can be painted,

So maybe I should call this painting a matte

but could also be generated in 3D and then

painting instead? I leave that decision up to you.

imported into the picture. Of course photos can also be used, as well as shapes or “cut-out”

Just as with everything else, this can be painted

animals/people that are usually used to populate

by hand, and in that case perspective grids

3D renders of cityscapes or buildings.

would be rather helpful, as would knowing about light and shadow if you do not use any

Overall, textures are best achieved with photo

references.

textures or photographic texture brushes, and set to Overlay or Soft Light. Unless you are

Once again, another way of creating a city

going for a real grungy effect, it is advisable to

backdrop would be to use a 3D programme to

keep the Opacity of this last texture layer very

render it, and then work it into the painting.

low.

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Anatomy of a Painting Different Means to one End

Conclusion As mentioned in the introduction, some of the things described do not fall under what we know as painting, and when used, the final image should not be called one either. There are many different categories of Digital Art, and many people who confuse one with the other, or get very upset when they are made to believe something is one thing, when really it is another. There is Matte Painting, which usually has a photo/plate, and these days often some 3D aspects as its base, while a lot of it is painted (over) or manipulated in some way. Funnily enough, the term is only used for sceneries, meaning land- and cityscapes. When the main character in a picture is a photo, or an overpainted photo, and the rest is painted, it is widely known as Photo Manipulation. When 3D and painting are mixed together in one piece, you can either call it 3D with post-work done in 2D, or a painting with (underlying) 3D elements. And there are lots of things in between, and people still split hairs over what should be termed what.

Whatever you choose to do, you should enjoy doing it – there is no point in forcing yourself to do something in one way, and one way only,

something is done with care and skill, it will look good, and there is merit

because “it’s the done thing”, or because calling something a Painting or

in mastering a skill – any skill. So let people know what and how you’ve

Matte Painting supposedly sounds so much more prestigious than calling

done something, as only then they will be able to really appreciate your

something a Photo Manipulation, or simply a Digital Media Collage. If

work for what it is.

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Issue 041 May 2009

Nykolai Aleksander For more from this artist visit: http://www.admemento.com/ Or contact: x@admemento.com

Interviews Raphael Lacoste Blaz Porenta

Articles Sketchbook of Drazenka Kimpel

Tutorials

Vehicle Painting Series

by Hoi Mun Tham

Speed Painting: “Great cracks split the earth as the ground shook beneath them”

by Robin Olausson & Emrah Elmaslli Space Painting!

Part 12: Space Colonies Different Means to one End

by Dr Chee Ming Wong

Galleries 10 of the Best images featuring

Plus Loads More! go to www.2dartistmag.com for full details and to purchase current, back issues and 6 & 12 month subscriptions

Image: © 2009 JASON SEILER All Rights Reserved.

Making Of

What a Shame

Created In: Photoshop

Hello, I’m Sara Biddle. I’m a 23 year-old, self-taught digital painter. In this “Making Of” article, I’d like to walk you through the steps in the creation of my image “What a Shame” and share with you some of my thoughts and ideas along the way.

It all started when I found a story outline that I had written previously, hidden away in an unused desk drawer. The story consisted of a girl who had everything she could ever ask for in life. Despite the warning words of others, the temptation of her father’s occult obsession led her in the wrong direction, which ultimately brought about her demise. I decided I wanted to capture that moment of guilt she must have faced. I immediately started brainstorming ideas and elements that could bring the painting together. The result was the idea of a seemingly innocent young girl in a white dress with tarottype cards spilled out on the floor around her.

I began by scribbling out a few simple sketches on paper to get a feel for the subject and to

experiment with different poses and ideas.

Though looking back and forth in a mirror is a

After a few random tests, I found a direction

bit more tedious than snapping a photograph,

that I really liked and quickly began blocking

I find that I learn much more and study closer

in shapes and colours with a simple hard-

with this method. After studying my own posture

edged round brush in Photoshop. I found flesh

for a while, I decided to change her posture from

coloured tones blended with deep reds and

the original sketch, positioning her more upright

browns to be an appealing colour palette for the

and straightforward in hopes that this would

image (Fig.01).

make her seem more alert and aware. For the skin, I selected many variating colours of orange

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For anatomy and lighting reference, I always

and pink and blended them with a spackled

keep a mirror and a flashlight close to my desk.

brush set to very low opacity. For areas where

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Issue 041 May 2009

What a Shame Making Of the skin is thinner, such as the hand and the chest, I lightly brushed in veins using a light ultramarine shade of blue to give the impression of transparency (Fig.02).

I also changed the dress to give a variance in colour. At first I had my heart set on a white dress but the beautiful plum colour really caught my attention against the natural colour palette and I was unable to part with it!

To me, the face and expression are extremely important to the overall look and impression of an image, and so I devote a lot of extra time and care to creating and detailing faces. For this image, I chose to give the character beautiful wide eyes, each a different colour - one a sky blue, the other a mossy green. I felt this would add to the uniqueness of her character and perhaps symbolize how their are two sides to

her personality. For the expression, I attempted to give her a look of guilt, mixed with callousness and fear. I painted in the face detail with a custom textured round brush set to low opacity (around 10% or less)(Fig.03).

For help with the dress, I took two regular sleeping pillows and stuffed them into one of my old skirts, giving the skirt shape and the illusion of legs folded underneath. I set up an area in my workspace on the floor and used the skirt dummy as study reference for the dress form and folds. I shaded the skirt in hues ranging from light desaturated pink to a lavendergray, lightly mixing in colours from the background in different areas to bring things together (Fig.04).

I’m very fond of creating different custom brushes, both for beautiful texture and to speed up workflow. For the lace, I created a custom brush resembling a swirly lace-like pattern and use it as a stamp around the edges of the dress, rotating it to conform to the angle of the dress hem (Fig.03)

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Issue 041 May 2009

Making Of

What a Shame

Now that the image was nearing completion, I took the opportunity to add in more details. Using a small round brush, I painted in details of a tattoo on her right forearm and the various types of jewellery. For the beads, I set a regular hard round brush’s spacing to 100% to create a bead-like line brush. I dragged it across her left hand and forearm dropping low occasionally to create a loose draping effect (Fig.05).

And now, the final step: the cards! I wanted the cards to resemble tarot cards and be scattered on the dress and floor around her like they had been carelessly thrown about. To create the cards, I first drew out a

few images on paper and scanned them into Photoshop for painting. Afterwards, I inserted the cards into the image and used the Free Transform feature to distort the cards, making them appear angled. The card she’s holding sports a demonic being, symbolizing her fate.

The others include a goddess with a child and a snake with a sword. These extra cards surrounding her have no meaning in the story, they’re just for looks. (Plus I really enjoyed making them!) (Fig.06).

By finishing this image, I feel like I’ve created the image that I imagined originally, and I’m really happy with the way it turned out (Fig.07).

Sara Biddle For more from this artist visit: http://www.salizabeth.net/ Or contact: contact@salizabeth.net

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Issue 041 May 2009

www.2dartistmag.com image: Kekai Kotaki

artist

Concept Art, Digital & Matte Painting Magazine Issue 041 May 2009

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“There are, in my opinion, three ways of creating artwork. The first way is with a clearly thoughtout idea and a clear image in mind, where you need to move the image from your imagination onto a canvas. This is the best way to avoid big problems in the process of painting artwork, and eventually you get a clear result.”

In this article, Dmitry Grebenkov shares the process taken to create his digital painting “Black”, from the intial ideas stage all the way to the final image.

Making Of

Created In: Corel Painter X

There are, in my opinion, three ways of creating artwork. The first way is with a clearly thoughtout idea and a clear image in mind, where you need to move the image from your imagination onto a canvas. This is the best way to avoid big problems in the process of painting artwork, and eventually you get a clear result. I actually have this happen to me very rarely. I try to use this method to translate my work, always leaving room for “happy accidents”. The second way is an associative search, when you create a chaotic canvas of lines and shapes and then find something within the chaos that you can add to. This way of making artwork comes in when you just want to draw, but don’t know exactly what you want to do. The third method is when you have some vague images and fragments of images in your head and start to connect those images, and you eventually get the work done in very fun way.

With this work, I understood clearly the image that I wanted to create, as well as the mood of the piece – daydreaming, sadness, anticipation; a picture with some unknown history behind it.

For this image, I used my favourite software: Corel Painter X.

After quickly exploring my idea through sketches, I created a clear line art (Fig.01). Line art is very important because in the process of drawing you can fix things simply and painlessly, and get a clear vision of the image. When you’re done with the line art, the drawing can then move onto the next stage where you can just fill the frame with a specified pattern of shapes and colour. The quality of line art will depend on the remaining lines in the final image. If you need to, you may have to sweat to create a perfect line art, but in my case, with this image, it was not necessary.

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Black Making Of In the second stage, I filled in the different layers of the main shapes of the figure, broke in some colour and created the background (Fig.02). All this was done underneath the line art. Another important thing to mention is the contrast of the image. In this piece, the contrast is mainly between the dark hair and dress and the bright background, and the main colour contrast is the warm skin tones against the cool colour of the background.

I configured Painter for my needs, switched on the layer Preserve Transparency function (to feel free with the rough shading and colouring in selected layers) and then set up the paper.

My favourite tool is the Round Oil Pastel. Pastel interacts with the paper and gives gentle colour shading. My personal favourite canvas is a basic paper, but it is slightly more granular than I needed, so I reduced the texture size of the paper to 60-70% and decreased the contrast to 35-40%. What I like most about Painter is the fact that the colours you’re using interact with the layers below, and you get very nice shading and don’t need to use any blenders.

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Making Of

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At this stage I did some quick shading of all forms, and got the basic colour accents (Fig.03).

The light comes from the right and is focused on her face, so I had maximum accentuation in this part of image. I painted the lips with bright red lipstick to add further accent to the face.

In the next step I turned off Preserve Transparency, because at this stage I no longer needed the line art. I created a new layer over all other layers, where I started to add detail to parts of image, working initially on her face (Fig.04). The face is the most important thing for me, and in this image I was searching for the exact tone and colour solutions that were to be used for the rest of the image.

I continued to refine the image by working on her hands next (Fig.05), and adding little touches to the dress and bag strap in her hand.

I gave her nails red varnish to support the bright red of her lips. I also gave a slight touch of silhouette to her hair.

The next step was adding the detail of the hair and painting the jewellery – earrings and a pendant on a chain. I was aiming for a certain romantic image feeling, the kind that comes in a pink heart with a golden frame. I wasn’t too fond of some of the curls here so I started fixing them (Fig.06). The big curl on her shoulder popped out from the style of the image and looked too heavy. So I made it thinner and lighter, and continued work on the hair (Fig.07).

At this stage, I carefully and critically considered the entire image. I found that the transition

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Black Making Of from the chest to the stomach broke the line of the body and made the silhouette look ugly.

To resolve this area I removed the light spots on the dress below the hand, and the whole silhouette looked greatly improved (Fig.08).

I removed some of the inaccuracies and random spots within the image, and then started work on the background, making ambiguous silhouettes against a background and adding some drops of rain (Fig.09). This background added greater mood and feeling to the image, and the whole piece began to raise more questions about the history behind it.

The image was then complete.

Dmitry Grebenkov For more from this artist visit: http://kody.cgsociety.org/ Or contact: dmitry.grebenkov@gmail.com

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Issue 041 May 2009

Making Of

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Issue 041 May 2009

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With the release of 3DTotal’s new book, Digital Art Masters: Volume 3, we have some exclusive chapters for you...

This book is more than just an artwork book. Not only does it feature full-colour, full-page images, but each artist has given a detailed description, in their own words, of the creation process behind each piece of published artwork.

And they’ve done it especially for this book!

This month we feature:

“Fallen Beauty”

by David Edwards

The following shots of the “Fallen Beauty” book pages are featured here in full-resolution and can be read by zooming in...

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Digital Art Masters: Volume 1, 2 & 3 with a special 20% Discount

To claim your discount simply purchase here: http://www.3dtotal.com/books/ (Note: if a security dialogue box appears, tick ‘Remember’, then click ‘Allow’)

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